Christopher Willits

Oct 6th, 2006 Downtempo, Electronic/Dance, Shoegazer steve 1 min read

October 17th marks the release date of new Ghostly artist Christopher Willets’ Surf Boundaries. A beautiful piece of post-shoegazer guitar and electronics, it represents a narcotic blend of melodic, ambient drone and pastoral, at times, uplifting playing and programming. Glitchy yet highly listenable, Willits mixes his/her vocals into an ambiguous, heavenly concoction and literally surfs the boundary between experimental and accessible. There are moments of…

Fat Jon & Styrofoam

Sep 29th, 2006 Downtempo, Hip-Hop steve 2 min read

Okay, because of my usual slacker ways, I’ve missed the window to recount my excellent Touch & Go adventures and need to get back to the new music because there is just too much good shit in the queue right now. Today’s post is at first an odd pairing. The Same Channel teams two unlikely foes in a fight against the impending demise of hip-hop…

Bonobo :: Days to Come

Sep 14th, 2006 Downtempo, Electronic/Dance, Instrumental steve 1 min read

A couple of quick posts today and tomorrow before I begin with the Touch & Go posts for next week. First off, a new track from the forthcoming Days to Come LP from Ninja Tune artist Bonobo who continually produces the finest downtempo there is. You know, I sort of hate to say downtempo too, but there isn’t a more specific word to describe the…

Tommy Guerrero

Aug 25th, 2006 Downtempo, Soul steve 1 min read

Someone once asked me what constituted a “summer jam” and my answer was simple: If you think Sinbad would be into it at Reggae Sunsplash. But since then, I’ve never really longed to be a West Coast beach dude, but the former Bones Brigader and California-based guitarist makes the kind of optimistic, unpretensious and sun-baked soul that can lead to relocation. I mean, the Dodgers…

Zero 7 w/ Jose Gonzalez

Aug 22nd, 2006 Downtempo, Soul steve 2 min read

When I first heard Zero 7’s now-classic EP 2 in March, 2000, little did I know that nearly 6 months later, after the terrorist attacks of 9/11, that I’d revisit the record with much more necessity, using it to buffer a lot of what was happening in the world around Brooklyn. The mood was as you could expect it then — tense, frightening, nervous, melancholy…