Tag: Toro Y Moi

Listening to Toro y Moi is like sinking into a heavily-perfumed fluffy bed.

Headstrong and filled with boundless energy, Goat bring you a world full of hypnorhythms.

It’s fitting to receive instruction from Art Brut on how the whole band thing works. Rumor has it there’s new music on the way, and I could not be more excited. Notice to the faithful listeners: the show will be off on the expected December 17, but will return for a special off-schedule holiday showcase on the 24th.

The end of the year slide has commenced, and things feel somewhat lackadaisical, but there’s still a huge backlog of new music to get through. Among the highlights is a new album from Amyl and the Sniffers, which contains lots of great stuff the FCC would frown on, but I was able to find one track that required minimal editing for compatibility.

It’s been about six months since the previous compliation of music that was played on the 11pm-midnight section of the Mixtape — the late-night temporal space that receives music that is strange, harsh, and/or repetitive that is known as The Final Hour. This is the second anthology from this pool of music, presented through the entirety of tonight’s Mixtape to allow those whose schedule leans towards the earlier hours a chance to experience. Hark!

Why had I not heard of this Zach Hill (Death Grips, Hella) side project before? The I.L.Y.s hit a lot of my targets — noisy, harshly pop, and completely willing to blur the line between the analog and the digital. The video for tonight’s feature track is also something to behold, though I’d avoid it if you have a thing about bugs. Lots of bugs.

Coming straight outta Dublin, Fontaines DC have an insistent and incisive sound that carves anthems out of marble using only guitar strings and a chiseling voice. No particular theme seems to emerge tonight, although we will be closing with Angel Olsen’s “Go Home.” Go home, it’s midnight.

Nothing to do with Peggy Lee’s sultry standard, this particular “Fever” comes from Aldous Harding, whose unique marshmallows-and-razor-blades sensibility makes for songs that leave you bleeding but which you crave again and again. Also tonight and also from New Zealand, a track from Garageland, one of my favorite underrated Kiwi bands of the ‘90s, which isn’t saying much because they were all underrated and they are all my favorites.

I always thought Kurt Vile was a play on the name of the German composer that gave us “Mack The Knife,” but that seems to be his given name (bonus: middle name is Samuel). Sonically, he’s more in line with Lou Reed than Weill, topping his awkward nouveau folk with a voice that may not be the most musical but is actually the perfect medium to express this particular malarkey.

As you may suspect, Peter Bjorn and John hail from Sweden, and as you may expect, they do Anglophonic indie pop better than the Anglophones.