Monday, October 29, 2012

Throwback Monday 10.29.12 - "Looking for the Perfect Beat" Afrika Bambaataa & Soul Sonic Force


The Soulsonic Force (also referred to as Afrika Bambaataa and the Soulsonic Force) are an American electro-funk and hip-hop ensemble led by Afrika Bambaataa who helped establish hip-hop in the early 1980s with songs such as "Planet Rock". They were also influential in the birth of the electro movement in America and helped pave the way for modern dance music. In 1982, The Soulsonic Force and Afrika Bambaataa released a single called "Planet Rock". The song borrowed musical motifs from German electro-popBritish rock, and African-American disco rap. All the different elements and musical styles were blended together; and in doing so, offered hip-hop as a new vision for global harmony. The song became an immediate hit and stormed the music charts worldwide. Their most well-known songs are "Planet Rock", "Looking for the Perfect Beat" and "Renegades of Funk" (which is one of the earliest political-conscious rap songs, alongside Grandmaster Flash and The Furious Five's "The Message"). The Soulsonic Force feature on the title track of the Freestylers' debut album We Rock Hard.
Info from Wikipedia

Monday, October 22, 2012

"The Message" - Grandmaster Flash & The Furious Five


"The Message" is a song by Grandmaster Flash and the Furious Five. It was released as a single by Sugar Hill Records on July 1, 1982 and was later featured on the group's first studio album, The Message. "The Message" was the first prominent hip hop song to provide a lyrical social commentary. It took rap music from the house parties to the social platforms later developed by groups like Public Enemy, N.W.A., and Rage Against The Machine. "The Message" is a social narrative that details the struggles and difficulties due to living in poverty in the inner-city. In addition, it embodies the distress, anger, and sadness an individual experiences when confronting these inequalities. The description of various social and economic barriers followed by the mantra “don’t push me cause I’m close to the edge, I’m trying not to lose my head” exemplifies that it is not just the disparity in opportunity that is oppressive but also the emotional response that is debilitating. It is frequently referred to as the greatest record in hip hop history and was the first Hip-Hop record ever to be added to the United States' National Recording Registry of historic sound recordings. Though not the first in the genre of rap to talk about the struggles and the frustrations of living in the ghetto, the song was unique in that it was set to a slower beat, refocusing the song on the lyrics over the music.
Info from Wikipedia

Throwback Monday -10.22.12 "The Robots" by Kraftwerk


Kraftwerk (German pronunciation: [ˈkʀaftvɛɐk], meaning power station) from Düsseldorf, Germany, is an influential electronic music project that was formed by Ralf Hütter and Florian Schneider in 1970, and was fronted by them until Schneider's departure in 2008. The signature Kraftwerk sound combines driving, repetitive rhythms with catchy melodies, mainly following a Western Classical style of harmony, with a minimalistic and strictly electronic instrumentation. The group's simplified lyrics are at times sung through a vocoder or generated by computer-speech software. Kraftwerk were one of the first groups to popularize electronic music and are considered pioneers in the field. In the 1970s and early 1980s, Kraftwerk's distinctive sound was revolutionary, and has had a lasting effect across many genres of modern music.


Kraftwerk's musical style and image can be heard and seen in later electronic music successes such as Gary Numan, Ultravox, John Foxx, Orchestral Manoeuvres in the Dark, Human League, Depeche Mode, Visage, and Soft Cell, to name a few. Kraftwerk would also go on to influence other forms of music such as hip hop, house, and drum and bass, and they are also regarded as pioneers of the electro genre.[43] Most notably, "Trans Europe Express" and "Numbers" were interpolated into "Planet Rock" by Afrika Bambaataa & The Soul Sonic Force, one of the earliest hip-hop/electro hits. Techno was created by three musicians from Detroit, often referred to as the 'Belleville three' (Juan Atkins, Kevin Saunderson & Derrick May), who fused the repetitive melodies of Kraftwerk with funk rhythms.
 
Kraftwerk discography
Kraftwerk (1970)
 Kraftwerk 2 (1972)
Ralf und Florian (1973)
Autobahn (1974)
Radioaktivität (1975)
Trans-Europe Express (1977)
Die Mensch-Maschine (1978)
Computerwelt (1981)
Electric Café (1986)
Tour de France Soundtracks (2003)

Info from Wiki

Monday, October 15, 2012

Throwback Monday - 10.15.12 - "Come To Daddy" (official video) - Aphex Twin


Come to Daddy is a 1997 EP by electronic music artist Richard D. James, commonly known as Aphex Twin. James describes his work like this: 
"Come to Daddy came about while I  was just hanging around my house, getting pissed and doing this crappy death metal jingle. Then it got marketed and a video was made, and this little idea that I had, which was a joke, turned into something huge. It wasn't right at all."
This video was directed by Chris Cunningham and filmed on the same council estate where Stanley Kubrick shot many scenes in a A Clockwork Orange.

Come to Daddy was named the number one video of the 1990s by Pitchfork.                 information from wikipedia

Saturday, October 13, 2012


Video work inspired by and created for "Ultimately Always 4 (Maryann by Adam Douglas)" by Mixmaster Noah Massey of Astronaut Disco. 

This work conveys the impression of a distant memory that is in and out of focus but the full, clear remembrance of the distant memory never happens. Additionally this memory is observed through an equally obscured digital filter or device which is the only way to view it. Notice the cyclical repetition to the memory with changing variations, each struggling to give a clearer interpretation of the memory. 

For the complete release go to:http://architectsandheroes.bandcamp.com/album/ultimately-always-remixes-a-h007
More on Kemek at: http://soundcloud.com/kemek

Monday, October 1, 2012

Throwback Monday - 10.1.12 - "Aruca" - Medicine




Medicine was an American alternative rock band formed in Los Angeles, California in 1991. Formed by guitarist Brad Laner, the band featured a number of different line-ups throughout its career before disbanding in 1995. The band reformed briefly in 2003, as a duo including Laner and Shannon Lee.

Medicine signed to Rick Rubin’s American Recordings label in 1992. With a signature guitar tone, created by running guitarist’s Brad Laner’s guitar through a Yamaha 4-track recorder, Medicine’s music managed to distinguish itself from some of the more ambiguous endeavors of the shoegazing movement.
Pitchfork Media has hailed Medicine as the closest thing to being an America answer to My Bloody Valentine.  


Monday, September 24, 2012

Throwback Monday- 9.24.12 Brian Eno Interview/Lecture


1974 Interview with Brian Eno on media and his music
Edited by Denise Gallant for Video West, San Francisco KQED show, 1980s.

Brian Peter George St. John le Baptiste de la Salle Eno, professionally known as Brian Eno or simply as Eno, is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music

Brian Eno discography

Studio albums
Solo albums
Ambient installation albums

Monday, September 17, 2012

9.17.12 "In Every Dream Home a Heartache" Roxy Music



Roxy Music are an English art rock band formed in 1971, members include Bryan Ferry - lead vocalist; Graham Simpson -  bassist; Phil Manzanera - guitar; Andy Mackay  - saxophone andoboe; Paul Thompson  - drums and percussion; Brian Eno - synthesizer and "treatments" and Eddie Jobson  - synthesizer and violin.

Roxy Music attained popular and critical success in Europe and Australia during the 1970s and early 1980s, beginning with their debut album, Roxy Music (1972). The band was highly influential, as leading proponents of the more experimental, musically sophisticated element of glam, as well as a significant influence on early English punk music. They also provided a model for many New Wave acts and the experimental electronic groups of the early 1980s. The group is distinguished by their visual and musical sophistication and their preoccupation with style and glamour. Ferry and co-founding member Eno have also had influential solo careers, the latter becoming one of the most significant record producers and collaborators of the late 20th century.

Their music was influenced by other British artists of the time such as Ferry's favorite band The Beatles, The Rolling Stones, The Kinks, The Who, The Pretty Things, Pink Floyd, The Creation, The Move, Traffic, David Bowie, King Crimson, andElton John. Eno's "treatments" were influenced by the experimental sound of The Velvet Underground.  information from Wikipedia

Monday, September 10, 2012

Throwback Monday - 9-10-12 "Mr. Pharmacist" The Fall

The Fall are an English post-punk band, formed in Prestwich, Greater Manchester in 1976. Despite an ever changing line up, the group essentially consists of its founder and only constant member, Mark E. Smith, who has said "If it's me and your granny on bongos, then it's [the] Fall".[1] First associated with the late 1970s punk movement, the band's music has evolved through numerous stylistic changes, often concurrently with changes in the group's membership. The Fall's music is often characterised by repetition, an abrasive guitar-driven sound, and is always underpinned by Smith's often cryptic lyrics, described by critic Steve Huey as "abstract poetry filled with complicated wordplay, bone-dry wit, cutting social observations, and general misanthropy."[2] information from Wikipedia 
 The "Polka-Dot Man" in this video is Leigh Bowery who was a performance artist, club promoter, actor, pop star, model and fashion designer and "considered one of the more influential figures in the 1980s and 1990s in London and New York art and fashion circles influencing a generation of artists and designers". information from Wikipedia

Monday, August 27, 2012

Architects and Heroes Featured in L.A. Record Magazine

THE INTERPRETER: ARCHITECTS AND HEROES (WITH MIXTAPE!) DJ Stephen R., founder of Architects and Heroes Records, speaks with Chris Zeigler from L.A. Record "about the music he makes and the music that made him want to make the music he makes." Click here

Saturday, June 2, 2012

Scenes from Mutek 2012

We're in Montreal right now at Mutek 2012. I've seen some amazing shows, and I'm even interviewing a few artists, in a joint effort between Igloo Magazine and our very own Architects and Heroes Records. I'll be doing an in-depth article for Igloo Magazine and we'll be sharing photos, videos and audio goodness from the event on both sites. Here is a small sample of what's to come...



Monolake @ Metropolis




Jeff Mills performing "The Sleep Awakes" at Metropolis




Shlohmo performing at SAT




Le Revelateur @ A/Visions 3

Wednesday, May 23, 2012

Throwback Monday - 05-21-12 - "Friend of the Night" - Mogwai

Mogwai are a Scottish post-rock band, formed in 1995 in Glasgow. The band consists of Stuart Braithwaite (guitar, vocals), John Cummings (guitar, vocals), Barry Burns (guitar, piano, synthesizer, vocals), Dominic Aitchison (bass guitar), and Martin Bulloch (drum kit). The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects. (taken from http://en.wikipedia.org/wiki/Mogwai)

Monday, February 6, 2012

Throwback Monday - 02-06-12 - "Koyaanisqatsi" - Philip Glass



Philip Glass (born January 31, 1937) is an American composer. One of the highest profile composers writing "classical" music today, he is often said to be one of the most influential composers of the late 20th century.[1][2][3] His music is also often (controversially) described as minimalist, along with the work of the other "major minimalists" La Monte Young, Terry Riley and Steve Reich.[4]

He has lately distanced himself from the "minimalist" label, describing himself instead as a composer of "music with repetitive structures."[5] Though his early mature music shares much with what is normally called "minimalist", he has since evolved stylistically.[6][7] Currently, he describes himself as a "Classicist", pointing out that he is trained in harmony and counterpoint and studied such composers as Franz Schubert, Johann Sebastian Bach and Wolfgang Amadeus Mozart with Nadia Boulanger.[8] (Taken from the complete wikipedia entry, which can be found here)

Monday, January 23, 2012

7 questions with Brad Laner



Brad Laner has a well-documented history of making music. From his work with Debt of Nature and Savage Republic to the more sonically dense (and highly visible) work as Medicine and Electric Company, Laner's prolific output embraces a number of styles, with sonic experimentation being at the core of his process. Not only has Laner built-up an impressive catalog of his own, but he is a highly sought-after collaborator.

He has worked with 17 Pygmies, Amnesia, Blue Daisies, Fourwaycross, Internal Tulips, The, Lusk, Nervous Gender, Steaming Coils, Three Day Stubble and even recorded as a session musician for Brian Eno. Laner has appeared on over 300 albums since he began making music, and most recently worked with M83 on their latest record "Hurry Up, We're Dreaming."

1. You've had a number of irons in the fire musically over the years. What does 2012 look like for you as an artist?

It's shaping up to be a year in which a large amount of my work from the recent and distant past will be released in various forms and places. I'll meanwhile be trying to create new work that will most likely emerge some time in 2013 or 14, with any luck.

2. You were featured on the most recent M83 record. How did that come about, and what's your ongoing involvement with the band?

My old friend and collaborator Justin Meldal-Johnsen produced the album and he brought me on-board to co-write a song ("Splendor") and lend my voice to that and another tune ("Wait"). It's a gas to be a guest on such a wildly successful project. Ongoing involvement? I read an interview with Anthony Gonzalez where he said he intended to work with me again and I most certainly would because I think he makes great records. I'm not part of the daily operation of the international showbiz juggernaut that is M83.

3. What projects do you have in the pipeline right now?

My 3rd solo LP is due out sometime this year on Hometapes and the 2nd LP bymy duo with Alex Graham (Lexaunculpt), The Internal Tulips will hopefully come out this year as well. This is in addition to the Medicine reissues that Captured Tracks are doing that will hopefully be out in the first half of the year.

4. Medicine is one of your most recognized projects. Is there any plan to release new Medicine material?

It's always a temptation to try to make new music under that guise and in that style but moving forward with unfamiliar things and ideas almost always wins out. Perhaps if I was a more career-minded artist I would try to milk that more than I do. I think it's more fun to curate that material from a safe distance in the way I've been doing lately. That's quite enough, thanks.

5. What other creative endeavors are you involved with?

I recently produced an E.P. by a wonderful singer/songwriter named Lauren Kinney and I've done remixes and contributions for many of my Home tapeslabel mates including Shedding, The Caribbean, Leverage Models and All Tiny Creatures over the past year. I'm also presently doing the score for a documentary directed by my brother, Josh Laner about Cosplay culture entitled "My Other Me".

6. Who are your biggest influences as an artist?

Beatles, Frank Zappa, Brian Eno, Don Van Vliet, Lindsey Buckingham, Brian Wilson, Marvin Gaye, Can, John Cage, Miles Davis, thousands of others.

7. What is your top 10 right now?

I like and am inspired by the current records by Alog, An Autumn for Crippled Children, Patten, Dominique Leone, Jamie xx, A.A. Bondy, Young Magic, Leverage Models, all of the James Blake EPs, Rustie

Throwback Monday - 01-23-12 - "O Superman" - Laurie Anderson



Laura Phillips "Laurie" Anderson (born 5 June 1947[1]) is an American experimental performance artist, composer and musician who plays violin and keyboards and sings in a variety of experimental music and art rock styles. Initially trained as a sculptor,[2] Anderson did her first performance-art piece in the late 1960s. Throughout the 1970s, Anderson did a variety of different performance-art activities. She became widely known outside the art world in 1981 when her single "O Superman" reached number two on the UK pop charts. She also starred in and directed the 1986 concert film Home of the Brave.

(Abstract reproduced from http://en.wikipedia.org/wiki/Laurie_Anderson.)

Tuesday, January 17, 2012

Architects and Heroes Records - One Year Anniversary

Hello denizens of the digital ether. A year ago, I sat in my studio with a vague idea about starting a record label with a few friends, specifically with William Rosario, (aka Asymmetrical Head & Quiliuq, not to mention our in-house designer via Leftm Graphics) and Eugene Rodis (of Burbank International the Luxury Tax), and we decided to collective put our time, effort and resources together and see what we could do. Below is the first video we put out there before we started Architects and Heroes Records, back in January of 2011.





So, here we sit one year later with seven releases completed and released. We've got some special things in the works to celebrate our collective survival into 2012. First off, we'd like to announce the signing of two new incredible artists.

First off, we welcome Kidd Anthem to the Architects and Heroes family.




Listen to a track off of her upcoming release on Architects and Heroes



Her sound is the musical combination of electronic, acoustic and experimental soul. Her creations are the culmination of exploring various mediums (she's also a photographer, illustrator and mixed media visual artist) and finding fresh perspectives on love, life and the complications that arise in our collective pursuit of happiness. Here debut self-titled release Kidd Anthem will be out in March of 2012.

More about Kidd Anthem:
https://www.facebook.com/pages/Kidd-Anthem
http://justkiddstuff.tumblr.com/
https://twitter.com/#!/justkiddstuff

Next up, we've signed-up LA abstract Hip-Hip Bizzart for a record due out in the spring.




Peep the track "Stumbling Blocks" from his record "Bloodshot Momma"
Bizzart- Stumbling Blocks by schlarb

BIZZART is an amalgam of contradictory and cohesive elements, a mishmash of sounds that treat the ears to both the good and the bad. The project is the brainchild of Arthur Arellanes who, since 1997, has released three albums of the kind of music that draws inspiration from everywhere. His work transcends easy categorization, but his work stands nicely shoulder-to-shoulder with Antipop Consortium, Jel and MF Doom just to name a few. As a long time friend to the Architects and Heroes Records family, we're super excited to be releasing his record.

More about BIZZART:
http://www.joyfulnoiserecordings.com/artists/bizzart
Twitter: @BIZZART

This is the first of a number of new things we're planning for 2012. We're expanding our scope as a collective, organizing new media events, continuing to share our insights on music and art, producing new music and reaching out to like minded people. Thanks to everyone who was a part of our 2011. First and foremost, our artist roster, including:

- William Rosario: (Asymmetrical Head & Quiliuq)
- Eugene Rodis: Burbank International
- Aaron Mobley
- Adam Douglas: Kemek
- Riz Maslen: Neotropic
- Envy Digital Studios

And thanks to Igloo Magazine and LA Record for showing us the little bit of press love we got in 2011.

Stay tuned...

Monday, January 16, 2012

Throwback Monday - 01-16-12 - "Genius Of Love" - Tom Tom Club



Originally established as a side project from Talking Heads, Tom Tom Club comprised a loose aggregation of musicians, sound engineers and artists of the Compass Point All Stars family, including Tina Weymouth's sisters and guitarist Adrian Belew, the latter of whom toured with Weymouth and Frantz in the expanded version of Talking Heads in 1980 and 1981.

Named after the dancehall in the Bahamas where they rehearsed for the first time while on hiatus from Talking Heads in 1980, Tom Tom Club enjoyed early success in the dance club culture of the early 1980s with the hits "Genius of Love" and "Wordy Rappinghood", both of which were taken from their self-titled first album released on Sire in the US and Island Records elsewhere in 1981.


Information from Wikipedia

Monday, January 2, 2012

Top 10 Records of 2011

Over here at camp A+H, we love us some lists. Here are our picks for the best records of 2011. Enjoy.

1. Phoenecia - Demissions



In the realm of abstract electronic music, this record is a masterpiece. The duo of Josh Kay and Romulo Del Castillo have stayed relatively quiet after their much-praised 2001 release Brownout, busy presumably running their impeccably-curated label, Schematic, doing numerous art shows, producing film soundtracks, releasing solo records (Josh Kay as Jeswa and Romulo Del Castillo as Takeshi Muto), or a number of other creative activities. Whatever the case may be, their return as Phoenecia, (in 2010 with Echelon Mall, and 2011 with Demissions) has made many electronic music fanatics, and lets face it, a number of IDM-listers, excited to see the return of an act that has firmly established their place in the pantheon of Intelligent Dance Music. While there are many abstract electronic musicians attempting to create something that is equal parts complex and emotive, Phoenecia has firmly hit the target and in doing so has laid down the gauntlet for others looking for a baseline against which progress can be measured. Listening to Demissions feels like what it must have felt like listening to ground-breaking records in the past. You know this will be an album that is talked about in the future as a game-changer. Now, let's hope that Phoenecia doesn't make us wait too long before their next one.




2. Wilco - The Whole Love



As any reader of this blog can attest, in 2011 I was more than a little excited about this record. In fact, my exact words were "The Whole Love" is to Wilco what The Soft Bulletin is to The Flaming Lips. It is one of the most thoughtful, intricate and well produced records they have ever put out." Now, if you know anything about the history of Wilco, then you know that's a bold statement, but it is one I will stand by. One of the most amazing traits of the band is their ability to reinvent themselves, to try new things and to allow creative chaos to seep into their music-writing process. This has never been more the case than it is with "The Whole Love." What the record does best is lure you in with a comfortable pop sensibility, then pull the rug out from under you by presenting some amazing twist that doesn't so much shock you as it does present you with a new perspective on something you're familiar with. For a band going into their 18th year of recording and performing, it's refreshing to see that Wilco shows no sign of letting their sound sit still.

The Whole Love - Wilco by Brian Friesen

3. Africa Hitech - 93 Million Miles



Africa Hitech, aka Mark Pritchard (Global Communications, Harmonic 313) and Steve Spacek (Spacek, Black Pocket, Supadread) have crafted a record so pitch-perfect and so reflective to the specific time and place that they inhabit as producers, that it would be easy to describe this record as "genre-defining," if there were already a name for what they've done! The Australia-based duo take stylistic cues from across the spectrum of electronic music. UK funky, grime, ambient, juke and jazz are put into a sonic blender, then mutated to form a signature sound that is unique to Africa Hitech. These two veteran producers have managed to redefine bass music multiples times and under a variety of monikers, so it's no surprise that they have managed to change the game...again.

Africa Hitech - 93 Million Miles Sampler by Warp Records

4. Thundercat – The Golden Age of Apocalypse



In his debut release, Thundercat (aka seasoned bass player Stephen Bruner who has played with Suicidal Tendencies, Erykah Badu, Sa-Ra Creative Partners​ and Flying Lotus) has created something so sonically dense, so complex and diverse, that it takes at least 2 or 3 listens to really understand how amazing it is. This heady mix of deep and funky soul, mixed with abstract electronics and his vocals, which sound like they could be lifted straight out of California soul music from the 1970s, create one of the most unique and incredible records of the year. With Flying Lotus at the helm as producer, the Brainfeeder camp has spawned yet another genius release. I'm really looking forward to what's next for Thundercat.

The Golden Age Of Apocalypse - Thundercat by kronika

5. Neotropic - Equestrienne Remixes



Since this is the second A+H release to make the top 10 cut (what can I say, I'm biased) I thought I would forgo a review, and re-post Igloo Magazine's review:

"On this record, a companion to the earlier released Equestrienne (Council Folk, 2009), London-based Riz Maslen has invited a slew of producers and others to remodel some of the latest works of longtime project Neotropic. The results are so refined and complex as the opener “Celaphane Road (A Dancing Beggar Remix)” attests. A quiet, bass-fueled soundtrack, where Maslen’s whispery vocal meets a cavalcade of thick drone head-on. It’s a tiny mile long steam train in the vast scape, terminating at a distant point on the horizon.

“Sirens Sister (Rusty’s Housekeeping Mix)” rumbles and boils with rusty, percolating sound effects subsiding and rising like a cryptic stage act, a mesmerizing pastiche of clanging bells and murmur. As the record plays on the darkly tinged “Sometimes (Lady Husk Remix)” has more in common with early Goldfrapp (a certain influenced follower) draws clear lines in its range of moodiness and stance. For those looking for a lift there are no shortages of more upbeat tracks like “Tall Fences (The Electric Fence Mix)” and “Love & Hate (DJ Stephen R. Remix)” which treat the originals to a distortion between groove and storytelling. And worldly rhythms are explored on the thick-as-thieves “Party Fears & The Alcohol Loves You (Small Fish with Spine Remix)” and the raspy post-techno “Hezbollah Girl (10sui Remix).” Here we see a sophisticated take on club beats without the cloying need to coax via anything but sheer sweat. Elsewhere you see a shift in the energy when “Muddy Water (Howpee Remix)” starts off. Sounding as good as anything excerpted from the best of The Knife’s catalogue, its moody and a bit atonal with only hints of vocal and shallow strings. The static and sunny vibe of “In These Days (Deltason Remix)” draws from the shoegazers of yore without recycling more than giving back. Boasting a psychedelic rocketship ride on the bonus cut “Carpet” the scene here is set."

Review by TJ Norris

Direct URL: http://igloomag.com/reviews/neotropic-equestrienne-remixes-architects-heroes




6. Boom Bip - Zig Zaj



In 2011, we saw the release of Boom Bip's (aka Bryan Hollon) Zig Zaj. As his 4th full-length album (7th if you count his Doo Doo series of breaks and tones), the artist has evolved his abstract hip-hop template into something that feels like a natural musical evolution for an artist who has never been content with the status quo. The album features Alex Kapranos of Franz Ferdinand, Money Mark, Bon Iver guitarist Mike Noyce, Cate Le Bon and a slew of other guests. The first thing that one notices about this release is its warmth and musicality. It traverses a landscape populated by sunny, Beach Boys inspired California sounds, synth-pop overtones, 4-to-the-floor darkwave stompers and even a hint of musique concrete. The concern with such diversity of styles would be that the consistency of the songs on a full-length record would get lost and the record would sound disjointed. That simply is not the case here. Hollon manages to seamlessly move from style-to-style without ever losing the consistency of the entire album experience. This record is yet another artifact from an artist who continues to push himself creatively, and who's output continues evolve and become something more than his previous work.

Boom Bip 'All Hands' by LexRecords

7. Tim Hecker - Ravedeath, 1972



Tim Hecker is something of a "glitch music" pioneer. Since 2000 Hecker has been a staple of avant gard electronic music festivals such as Sónar and MUTEK, a recording artist with such left-of-center labels as Mille Plateaux, Kranky and Staalplaat and has collaborated and produced with Aidan Baker, Christopher Paul Richard (Q and Not U). Credentials notwithstanding, Hecker has produced what Pickfork calls "a dark and often claustrophobic record that is arguably Hecker's finest work to date." The record is very introspective and has a quality to it that transcends the trap that most "glitch music" artists fall into, which is to exalt process over musical content. It's emotive and beautiful, and the most abstracted and generative elements serve as a conduit for well thought-out compositional ideas. There could be an entire article written about the conceptual ideas of this record, but for now just know that if you're a fan of ambient/drone music in any form, this is a must-have record.

tim hecker - ravedeath 1972 (album preview) by experimedia

8. Mima - El Pozo



El Pozo is the second album from Mima, the Puerto Rican indie music staple, who along with producer/instrumentalist Mark Underwood (aka DJ Nature), has created a rich tapestry that transcends any easy categorization. This heady mixture of folk, indie rock, electronic, country and regional Latin American music styles blends together seamlessly to create something that is unique and can only be called Mima's sonic fingerprint. This sophomore record from Mima, which was mixed by Stuart Sikes (Cat Power and The White Stripes), stands in very good company this year. There are big things on the horizon for Mima. Stay tuned.

Damen by MIMAMUSICA

9. Zomby - Dedication



Zomby has made a name for himself as a producer by mixing bass music and his re-interpretation of rave and hardcore dance music. With his 4AD release he continues to reconfigure this blueprint by evolving this sound into something that's more grown-up and ultimately more sonically complex. Pared down are the over-the-top amen breaks with the stabby juno rave synths, and in its place are intricate melodies and compositions that could have been taken from the Richard D. James playbook. This is an amazing record, and in my opinion, will serve as a milestone for the artist.

Zomby-Dedication by bmrelyea

10. The Summer of Flux - Radio Anthems for the Newly Disenfranchised



Call this an act of my grandiose self-actualization, self-congratulations or narcissism run rampant, but I feel that this record, which was co-written, produced and recorded by myself and Aaron Mobley is one of the most stand-out records of the year. I say this because it is not only the culmination of multiple years of collaboration, but it is also the manifestation of Architects & Heroes, the label I launched exactly one year ago this month.

On a personal note, the records represents the 2011 for me; the loss of my father in a car accident, meeting and getting engaged to the love of my life, the launching of my consulting business, starting the record label, the ending of friendships, the beginning of new ones and getting older. It's an audio diary in a way, and I hope to share even more with you in the very near future.