Dial It Back

Normally Uh Oh Disco’s blog posts are chock full of fire and passion towards ridiculous causes, endless rants, and miles worth of text, defending music that almost always speaks for itself, and doesn’t even need an explanation to back it up in the first place, but today, I’m unable to offer anything more than a comment on a subtly beautiful trend I’ve spotted as of late. What’s the trend? Everything’s going slower….

Is it good, is it bad? I personally think it adds a whole new realm of flavor and grove into the dance music scene that the driving beats of house music were never quite able to tap. It’s not often you’ll find a track that’ll please an entire crowd at once; All too frequently you’ll hear the complaints from hip hop fans that house moves too fast to dance to, and the house fans get upset that hip hop doesn’t move at all, but when you’re playing house rhythms down at 95-105 BPM, well, it’s enough to pry just about everyone’s eyes open a little wider.

The style has got to be something special, if only due to the fact that some of the scene’s greatest producers have quickly adopted it.

See for yourself, and let us know what you think!

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Aeroplane/Friendly Fires/Flight Facilities – I Crave Paris

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The Chemical Brothers – Swoon (Lindstrom and Prins Thomas Remix)

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Air – So Light Is Her Footfall (Breakbot Remix)

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Washed Out – Belong

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Jewel – Who Will Save Your Soul (Questions Reevaluated Edit)

The Beginning of Something Beautiful

If I were to quit listening to, blogging about, and living for music today, I’m proud to say that I would, in fact, die happy, for today I have discovered what I consider to be the most perfect blend of sounds to have graced the many ears on this earth in years. Naturally, you’ll have to excuse me if you don’t completely share my idea of beauty and finesse in the way of sound, but for myself, and those of you who can fall in love with the sensitive magic of artists like Sigur Ros just as easily as you can the sweaty pounding of well crafted electro, I’m proud to present to you the most perfectly crafted combination of all that there is to enjoy in this word: The Deer Tracks.

The Deer Tracks

Essentially, the title says it all: The electronic duo made up of the Swedish David Lehnberg and Elin Lindfors will pull you into a white world of emotion that can only be described by the image of deer tracks on snow. They’ve taken the haunting softness and gentle horns and bells of the Icelandic, Sigur Ros, and have managed to combine it with the electronic instruments similar to those used by MGMT, M83, or even Air, without losing even the slightest bit of emotion, which, seeing as electronic instruments manage to mask the mind behind the compositions quite well, is an impressive feat. Give any one of these newly released pieces only a few moments of your time, and you’ll have become overwhelmed by the power of a melancholy world. There is no happiness or sadness, no wants or need. Amidst these beautiful waves of sentiment, you’ll feel a perfect nothing–the utmost tranquility. Might I suggest that you put on your headphones, breath deep, close your eyes, and live.

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MP3: The Deer Tracks – Yes, This Is My Broken Shield

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The Deer Tracks – Cast Away

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The Deer Tracks – Slow Collision

It’s artistry like this that makes me feel like I really am missing out on a whole other world.

Digitalism’s Latest Release – Clearly an Influenced Sound

Hopefully your RSS feed doesn’t have an alert on it–I’m up far too early to be posting this, and I’d hate to subject all you nocturnals to undeserved daylight exposure, but I’m afraid the spirits of disco have spoken.

Digitalism

I was recently exposed to Digitalism‘s newly released (and quite under-hyped, if you ask me) single, entitled “Taken Away”, and have since begun to lose myself in the melting pot of sounds they’ve crafted. Digitalism has always been known for a sound that’s slightly more unusually influenced than most; Their initial fame came due to a remix of “The White Stripes”, and following the same trail, its clear that many of their original works (I Want I Want, Pogo) are almost more rock than electronic. However, upon listening to “Taken Away”, I’ll be honest and say that I not prepared for the thoroughly nostalgic and expertly blended sounds that graced my ears: More than anything, I am reminded of of the erie, melancholy chord progressions and echoey vocals of French experimental artists, Air; A breakdown toward the middle of the track will have every last hair on your body standing up on end, as if you were listening to Premiers Symptomes for the very first time. On top of that, a few quick arpeggiated synth licks are stimulating in ways similar to that of the Ekleroshock artists (Danger, Data), and if you listen close, you might even be able to make out sounds similar to that of The Alan Parson Project (or some similar 80’s phenomenon). The work is truly a well thought out and elegantly executed piece of imagination and influence, and to take such a step back through the history of electronic music is refreshing to say the least. In short, my expectations for
Digitalism
‘s pending album release have been pushed even higher.

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Digitalism – Taken Away