Stream Of Uncharted Monsters

Stream Of Uncharted Monsters: “Tokyo” by Wonderface

sometimes we don’t get a chance to feature certain new music from rising and/or underground artists that we really like on the podcast City Of Monster Bunker. that’s why we’re now showcasing recently released music every Monday, Wednesday and Friday so you won’t ever miss some truly wicked tunage.

in this Stream Of Uncharted Monsters, we would like to bring forth “Tokyo” by Wonderface.

check back often for more splendiferous samples of music. and listen to them all as we gather them up via Spotify.

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Reviews

Strange Words and Weird Wars | Marnie

Helen Marnie purposefully distanced herself from Ladytron with second album Strange Words and Weird Wars, more so than when she debuted her first solo record, Crystal World, in 2013. But it still remains a Ladytron-esque album even though the alternative nature is lost and the electronic pop presence is heightened. Her voice and synth-use is rather reminiscent, but are amped up in such a way that largely dismisses the comparison. There’s a thick layer of echo in her voice, as well as a flood of flowing synth throughout the album. Marnie’s abuse of self-distortion keeps her vocals from drowning underneath the heavy production; instead, it merely melts alongside it–acting like an additional synth property. Even though she has grown past the alternative phase, her intoxication with everything electronic disables each track from being distinctive.

A throbbing synthesizer and urgent vocals in “Alphabet Block” set the 10 track album off on a lavish electronic 80’s dreamscape. Segments of lyrics sound random next to each other; and while we could sit here and try to find the meaning, it really doesn’t matter. It’s the voice and production that carries the punch to propel you to finish the rest of the album. It’s also fun, a feeling you’ll catch quite a bit, especially when it comes to “G.I.R.L.S.

The third track starts a pattern that may not have been intended. “G.I.R.L.S.” revolves around a girl, or possibly herself, and the obsession that comes with it. It’s a cheer for girl power, and the captivation it holds over everyone. With a similar stand, though not as fun, “A Girl Walks Home Alone at Night” takes a haunting view about a girl who’s about to reach “the last day of her life.” Though it might just be as simple as that heartbreaking truth, which in itself is enough to fill your eyes with tears, it also comes off as a cry out for independence. Because even if something might happen, the girl doesn’t need anyone to save her (“I’ll keep the path and take my chance”). “Lost Maps,” which regains the momentum set by the tracks previous to “A Girl Walks Home Alone at Night” with a production in the vein of Röyksopp, advises a girl, or again herself, to not “believe what they tell you” even when “darkness closes on you.” These three tracks, though incredibly different from one another in terms of tone, conveys the same individualistic spirit, or ode to girls.

Another stand out, “Electric Youth” embeds itself in the middle of the whole girl power line of thought with a throwback to the good ol’ days. It plays up the real purpose of Strange Words and Weird Wars which is to repress worries and figure fun as the only prospect. It plays up the whole nostalgic effect every track seems to have even when they’re not directly recalling the past.

Marnie thrives within a CHVRCHΞS-like atmosphere where electronic ambiance lends most of itself to pop; however, she also carries the same problem that semi-plagues the Scottish band as well–every track sounds the same. Yes there are certain obvious differences. But the overwhelming sonic production and its consistent presence leaves a longing for diversity, something she achieved in her earlier work as a solo artist and as part of Ladytron. And there’s also this feeling like ‘I’ve heard it before’ rushing through the album. Strange Words and Weird Wars has many throwbacks to childhood and sound to back up why; despite that, there’s still a pretty low standard for originality with the subconscious utilization of familiar melodies. OK.

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Stream Of Uncharted Monsters

Stream Of Uncharted Monsters: “Nobody Cares” by Superorganism

sometimes we don’t get a chance to feature certain new music from rising and/or underground artists that we really like on the podcast City Of Monster Bunker. that’s why we’re now showcasing recently released music every Monday, Wednesday and Friday so you won’t ever miss some truly wicked tunage.

in this Stream Of Uncharted Monsters, we would like to bring forth “Nobody Cares” by Superorganism.

check back often for more splendiferous samples of music. and listen to them all as we gather them up via Spotify.

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QUEEK

#QUEEK: Dazey And The Scouts

every Tuesday, we’ll be featuring a queer musician, artist, band, or producer who has made an impact with their newest work.

our Queer Of The Week, or QUEEK, is Dazey And The Scouts with their album Maggot.

released earlier this year, Maggot is the band’s debut album and features 7 tracks with Austin Corona on drums, Lea Jaffe on vocals and guitar, Otto Klammer on vocals and bass, and Brennan Wedl on vocals and guitar. Maggot is queercore at its funniest. there’s angst, but never without a sense of humor especially when engaging in a little rage and not-so-subtle sexual teasing.

highlights: “Groan,” “Wet,” “James Dean You Let Us Down”

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Stream Of Uncharted Monsters

Stream Of Uncharted Monsters: “Trouble Adjusting” by Miya Folick

sometimes we don’t get a chance to feature certain new music from rising and/or underground artists that we really like on the podcast City Of Monster Bunker. that’s why we’re now showcasing recently released music every Monday, Wednesday and Friday so you won’t ever miss some truly wicked tunage.

on the first ever Stream Of Uncharted Monsters, we would like to bring forth “Trouble Adjusting” by Miya Folick.

check back often for more splendiferous samples of music. and listen to them all as we gather them up via Spotify.

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Reviews

EP Roundup: Major Lazer’s Know No Better & Krewella’s New World, Pt. 1

DISCLAIMER: It starts with a mild rant.

It’s slightly exasperating to see established producers flood the marketplace with EPs. It distracts listeners from exploring lesser known artists because an EP with a big name attached will immediately overshadow them. There’s only so many EP’s one can listen to and it should be a platform primarily utilized by rising artists to deliver a few soundbites for potential recognition. Of course, the exception would be if an album was already released and the artist wanted to extend it. Hence why it’s called extended play. Or if an artist wanted to test the waters with a completely different sound. Otherwise, Major Lazer and Krewella have no business using such a format. Especially when it’s incredibly self-serving (for the purpose of keeping their names in people’s minds) and does nothing special to evolve their musical inclinations.

Let’s start with Major Lazer, the more accomplished of the two. Currently comprised of DiploJillionaire, and Walshy Fire, Major Lazer is by far one of the greatest musical projects in the industry; even though I would argue that their first few years were more impactful. Regardless, the latest LP release, 2015’s Peace Is The Mission, was entertaining and a quintessential summer banger. But now as a trio, they’ve released, perhaps, their most irrelevant compilation to date. Know No Better is complete with 6 tracks, all without a shred of originality. The title track features Travis Scott, and to put it lightly, it’s one generic and predictable waste of 3 minutes and 46 seconds. Scott couldn’t do much to save it; especially when it took him 5 lines to conclude that a car is too small to fit the whole squad (“Pull up in that foreign, my God|Whole squad get in that, get in that|Please say it ain’t true|I had to go and cop two|Hell nah, we can’t fit in that”).

Diplo is also the sort of guy who’d incorporate a little Spanish at random intervals. He released “Dale Asi” featuring Mr. Fox in a previous EP, Apocalypse Soon, back in 2014. Presently, he showcased not one but two tracks sung in Spanish. One of them, “Buscando Huellas” (translated to mean “looking for footprints”) featuring J Balvin and Sean Paul, actually contains some fraction of fun with light reggaeton and vocal distorted breaks giving off a pleasant summer-y vibe. However, before the second Spanish track would appear, they had to slightly butcher the Spanish language by spreading the word and title name “Particula” as far as it can go: first, it was used as slang for particular; second, it referred to hidden articles of clothing; and third, it opened an opportunity to say a similar looking word in Spanish because they happened to rhyme. If Know No Better wasn’t already deemed a electronic, cross-cultural mess, it became pretty clear by this point. SKIP IT.

Next is Krewella, a sister-duo who had been battling to restore their image after Rain Man’s dramatic departure in 2014 and negative criticism from EDM fans and producers, including deadmau5. Due to a lack of prosperity, Jahan Yousaf and Yasmine Yousaf experienced a lengthy hiatus and have shied away from releasing another studio album since their debut as a threesome on Get Wet back in 2013. However, they weren’t completely quiet–releasing a couple of stand alone singles over the past few years which led up to their comeback EP last year, Ammunition–an angry and dark strike against the hate they’ve endured. Now, with the release of New World, Pt. 1 (oh boy, must there be another part?), the anger hasn’t completely left the building; but it has slightly mellowed. The 7-track EP features three previously released singles, and a collaboration with Diskord, who worked with them on “Beggars” for Ammunition. It’s definitely their most pop-laced efforts. The opener, “Calm Down,” starts the same way “Beggars” did when it kick-started the previous EP, with strong words against skeptics, “Don’t tell me to calm down, I’m about to tear this fuckin’ place down.” The follow-up “Th2c” is a complete rip-off from Charli XCX’s playbook circa Number 1 Angel. They even configure the title like one of XCX’s songs from the mixtape, “Ily2.” Nevertheless, “Fortune” featuring Diskord and “Love Outta Me” is Krewella at their most familiar. Seeing these tracks right next to each other shows a lack of direction and proves how the the sisters are still recovering from industry fallout. They’re incorporating a bit of this and a bit of that, which makes them seem distracted or confused. Yes, EP’s don’t need to be cohesive. But in Krewella’s case, it needed clarity and a sense that they’ve moved on. EH.

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