stadiums & shrines – dreams

– featured image courtesy of victoria masters – 

“album of the fortnight” is an occasional feature that digs into a recent release of note. the articles will run roughly during the middle and at the end of each month, always on a friday; the album or body of work in question will have been released at some point during that two-week span.  this column focuses on art that resonates deeply, on pieces that necessitate more than just a knee-jerk reaction.  next up: a compilation curated by stadiums & shrines.

What is a music blog, anyways?  caught up in a seemingly endless stream of press releases and promotional blasts, sites might adopt a reverse-chronological feed, posting multiple items per day; others may adhere more towards a one-a-day policy (hello); still others may publish more intermittently.  regardless of frequency, this small community is passionate about the craft, making a strong case that discovery and curation by human beings can be much more intimate and impactful than the work done by algorithms.

since 2011, the new york-based stadiums & shrines has drifted away from the daily grind of release cycles in favor of an excellent radio show and multimedia collaborations with beloved musicians.  the result of the latter is dreams, a sprawling compilation powered by visual artist nathaniel whitcomb’s collages and contributions from more than twenty artists.  a project that’s equally auditory, visual, and tactile, the physical release of dreams comes with a gatefold book containing “handmade collages and written vignettes — creative exchanges between musicians and … stadium & shrines,” says the site’s dave sutton in an interview with goldflakepaint.

those collages, assembled from a 1950s book on tourism, each contain images from a specific landmass – usually a country, sometimes a province or a state.  after assembly, sets of collages were delivered to specific artists; the “dreams” were the sonic interpretations that were returned, with sutton and matthew sage then adding a written narrative to the audio-visual product.

s&s dreams

many of the resulting songs can certainly be classified as ambient, but perhaps exploratory is a more thematic adjective; indeed, a handful of contributors selected their collages based on places they were visiting or would travel to soon.  wisps of maria usbeck’s tropical buoyancy swirl around the digital bonus track “mexico,” while the pastoral strains of mutual benefit are very much present in his ruminative “bali.”  while quibbling about genre could certainly occur, it’s clear that dreams did not mandate the sacrifice of an artist’s identity for the sake of a predetermined, prescribed aesthetic.  calling cards at times juxtapose or complement their counterparts, providing the compilation with a lush, three-dimensional palette.

tracks that subsequently appeared on an artist’s own project – teen daze’s “alaska” opens his 2013 full-length glacier, while ricky eat acid’s “algeria” is housed within a longer composition on three love songs – feel re-contextualized and reinvigorated here, a testament to stadiums & shrines’ dedication to sequencing.  of course, dreams also boasts stunning pieces that are brand-new to its release, like yumi zouma’s french excursion and the spanish getaway taken by julie byrne and eric littman.  julia lucille’s “norway” in particular stands out, the inherent and effective sparseness of her arrangements lending itself well to a frosty, nordic REM cycle.

like any seminal compilation, the effects of dreams can be felt in myriad ways.  the physical version of the album is bookended by sea oleena and gem club, two artists whose signals have gone dim over the past few years; hearing “portugal” and “england’s countryside,” respectively, feels akin to the familiarity and comfort that washes over when running into a long-lost friend.  on a larger scale, dreams is an affirmation of the outsized power of human relationships and collaborations, proof that enduring and endearing projects can be cultivated at comparatively glacial speeds.  the change of pace is refreshing.

dreams is out today via the fine folks at cascine.  spend some time with the album in full, streaming below.

most anticipated albums of fall 2016

– featured image courtesy of minimally minimal –

the home stretch of each year always provides a plethora of new albums vying for contention in year-end best-of reviews.  invariably, at least one heavy-hitter holds onto a project until the quarter is almost over before unleashing it and messing with the internet’s ballots by proxy (here’s looking at you, the weeknd and lorde).  the full list for this fall is exhausting; google searches and metacritic are good tools to keep yourself in the know, but we’ve also compiled a handful of albums we’re especially itching to dig into.  read on for more detailed explanations.

mick-jenkins-the-healing-componentmick jenkins – the healing component
september 23rd (free nation)

after years of building anticipation, mick jenkins will finally release his long-awaited debut album, the healing component, tomorrow.  if early looks like “spread love,” “drowning,” and “fall through” are indicatives of the album’s tenor, then the healing component should more than clear the high bar jenkins has imposed on himself.

jenny-hval-blood-bitchjenny hval – blood bitch
september 30th (sacred bones)

only a little more than a year has passed since jenny hval released her excellent apocalypse, girl, but the norwegian composer and songwriter has already completed a follow-up album, blood bitch.  hval’s new effort is billed as an about-face from its predecessor and has been bolstered by the strengths of lead single “female vampire” and “period piece,” a standout component of this year’s adult swim singles series.

unnamed-1moses sumney – lamentations
september 30th (self-released)

moses sumney’s live performances are a wonder to behold, and his recorded music is nearly emotive.  after thriving off of a handful of singles and his debut ep, mid-city island, sumney will self-release his latest extended play at the end of this month, but be on the lookout for his much-anticipated debut album sometime soon after.

takuya-kuroda-zigzaggertakuya kuroda – zigzagger
october 7th (concord records)

those not familiar with japanese bandleader and trumpeter takuya kuroda would do well to pick up his 2014 album, rising son, a perfect union of jazz, hip-hop, and r&b.  kuroda and his band continue to hone that aesthetic on zigzagger, his fifth studio album and first for concord records.  for a primer, start with the album’s lead-off single, “r.s.b.d.”

ricky eat acid talk to you soon.pngricky eat acid – talk to you soon
october 28th (terrible records)

sam ray will return to his ricky eat acid moniker at the end of next month to release the project’s first full-length in over two years.  2014’s three love songs is a timeless masterpiece, and ray’s divergence from its ambient magnetic pull on subsequent singles, mixtapes, and eps suggest that talk to you soon may be broader in scope and ambition, but almost certainly as uniquely emotive as its predecessor.

– other notable releases –

bon iver – 22, a million (september 30th)
danny brown – atrocity exhibition (september 30th)
s u r v i v e – rr7349 (september 30th)
ahem – just wanna be (october 7th)
jagwar ma – every now & then (october 14th)
american football – american football (october 21st)
the radio dept. – running out of love (october 21st)
forth wanderers – slop (november 11th)
the weeknd – starboy (november 25th)
childish gambino – pharos (tba)
chromatics – dear tommy (tba)
vancouver sleep clinic – tba (tba)

 

 

ricky eat acid – “hey”

– featured image courtesy of alex locater –

three love songs will forever be a landmark achievement.  sam ray’s foray into introspective ambience as ricky eat acid, tinged ever so slightly with hints of house music, resonated deeply with listeners; three love songs was also far and away our favorite album of 2014.

ray is musically dexterous – since three love songs, he’s released an album under his julia brown moniker and has reformed his once-defunct punk band, teen suicide, who have since toured and released a sprawling album of their own – yet this chameleonic tendency manifests perhaps most acutely and frequently within the work he creates as ricky eat acid.  his subsequent material under the moniker has traversed edm-informed soundscapes and smothered itself in pillows of dark, ominous synths, yet each track is unmistakably a ricky eat acid effort, a testament to ray’s ability to push boundaries creatively while still maintaining such a singularly raw emotional connection.

“hey,” the lead single from the forthcoming ricky eat acid full-length, talk to you soon, melts some of ray’s more aggressive ventures into a pliable material: rigid drum beats and vocal samples that can prop up flittering pianos and string arrangements without depriving them of their consonance.  the song’s apex is early and revelatory, with owen pallett’s strings helping “hey” shed its sleepy, pensive facade for an extended period of jubilance.

talk to you soon is out october 28th via the brooklyn imprint terrible records; in addition to pallett’s contributions, the album features guest vocals from caroline white, spencer radcliffe, and harmony tividad, as well as collaborative work with the black metal band wreck & reference.  revel in “hey” below.

listen to a new mixtape from ricky eat acid

ricky eat acid
photo courtesy of the artist

ricky eat acid’s three love songs withstood the entirety of 2014 and emerged as our favorite album of the year, but sam ray’s latest project under his electronic moniker has little in common with its full-length predecessor.  instead, mixtape, which began streaming yesterday via vice, feels like a hybrid between love songs and last summer’s sun over hills ep, with the latter providing the stronger influence.  ray stated that mixtape is meant to be digested while smoking weed, though a sober listen doesn’t seem to be any less rewarding; the compact nocturnes juxtaposed by harsh, rapid electronic flurries are jarring in any state of mind.  listen below.

listen to a new song from ricky eat acid

ricky eat acid catsam ray has shared his latest effort as ricky eat acid, the b-side to his new single “context” which dropped earlier this month.  “walking around a garden at night” is pretty indicative of its title, a murky stutter-step of dynamic shifts and subdued piano textures.  ray touts it as “music for smoking weed in your car at night,” but, you know, it works pretty well in a variety of settings.  take a listen below.

listen to a new song from ricky eat acid

2014 was sam ray’s year; in between a ricky eat acid full-length and ep, he found time to covertly release a new julia brown record and to resurrect a reincarnation of teen suicide.  but it’s that first moniker that has excited and mystified the most, an artistic entity that can pull off footwork and post-classical soundscapes with equal aplomb.  ray shows no signs of slowing down his output as ricky eat acid, and will release “context” b/w “walking around a garden at night” on january 20th via canvasclub.  the a-side runs the gamut of ray’s musical pursuits as of late, navigating through white noise to busy synths all the way to a frenetic busdriver vocal sample inflated with helium.  take a listen to “context” below.

best of 2014: albums

the end of our year-end best-of week is finally upon us, and we’ve saved the best for last: ten full-length albums of 2014 that best represent the musical convictions of dimestore saints.  in many cases, we’ve beaten these albums to death with accolades, so this list will be strictly visual.  as usual, the link embedded in the artist and album title will lead to a stream of said album, while clicking through each photo will lead to a review that accurately conveys our feelings.  by and large, the reviews will come from this site, but a couple will be pulled from other sites and writers that we admire.  cool?  cool.

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alvvays cover

10. alvvays – alvvays

sve are we there cover

9. sharon van etten – are we there

ritual in repeat cover

8. tennis – ritual in repeat

cloud nothings cover

7. cloud nothings – here and nowhere else

too bright cover

6. perfume genius – too bright

familiars cover

5. the antlers – familiars

caribou our love cover

4. caribou – our love

lost in the dream cover

3. the war on drugs – lost in the dream

fka twigs lp1 cover

2. fka twigs – lp1

three love songs cover

1. ricky eat acid – three love songs

mixtape sunday – best of 2014

 

on friday we published a list of our ten favorite songs of 2014.  naturally, we’ve compiled those tracks into a concise mixtape for your listening pleasure, which can be experienced above.  our picks run in reverse order and feature offerings from alvvays, caribou, ricky eat acid, fka twigs, and more.  check back tomorrow for continued coverage of our year-end best-of lists.

best of 2014: songs

welcome to day three of our year-end best-of week, an especially interesting day in which we attempt to choose, dissect, and justify our favorite songs of 2014.  obvious pop heavyweights like sia’s “chandelier” and taylor swift’s “shake it off” were removed from consideration in order to recognize some lesser-known artists, the ultimate ethos of dimestore saints.  we’re pretty satisfied with the following ten tracks, but we’d love to hear arguments for any we may have neglected in the comments section below.

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pillar point album cover10. pillar point – “cherry”

scott reitherman’s first solo venture as pillar point touched on nostalgia in all the right ways, with sleepy pop music powered by vintage roland synths and drum machines that still retained an acute sense of originality and inventiveness.  all nine songs on pillar point are earworms in their own right, but the album’s third track, “cherry,” particularly stuck with us throughout the year.  a punchy, fluid bass line pulsates underneath a stuttering vocal sample before finally giving way to the song’s verse, which finds reitherman’s understated approach to lyricism thrust into the spotlight.  an influx of rich, gorgeous textures often distracts from pillar point’s lyrical content, but the hesitant, poignant examination of a blossoming relationship found in “cherry” just can’t be ignored.

jamie xx sleep sound9. jamie xx – “sleep sound”

the xx have been taking their sweet time writing and recording the follow-up to 2012’s coexist, but apparently jamie xx is very skilled at multi-tasking.  the brooding sound architect has yet to release a solo full-length of his own, but the three tracks he did offer up this year were nothing short of monumental.  while “all under one roof raving” drew the most attention, jamie xx’s absolute best work came in the form of “sleep sound,” an aptly-titled nocturnal journey with a punishing subterranean bass line countered by very patient drum programming, which waits nearly four minutes before guiding in the song’s crucial segue to its b-theme material.  if “sleep sound” is any indication, both the xx and its most prolific member are slated to have a very rewarding and important 2015.

8. alvvays – “adult diversion”

molly rankin’s apathetic drawl is one of the most endearing traits of fast-rising toronto upstarts alvvays, but it’s not the band’s most important.  the quintet’s wonderful self-titled debut largely hinges on the stellar guitar interplay between rankin and alec o’hanley, and “adult diversion” sets the tone.  it takes multiple close listens to discern where the song’s main riff splits off into separate countermelodies, and rankin & co. move on to new ideas and arpeggiations before true appreciation can set in.  and then the final component of the alvvays trifecta settles in: rankin’s blunt, polarizing lyrics.  “adult diversion” clearly outlines unrequited love – at best a crush, at worst a full-blown case of stalking – but its delivery is tongue-in-cheek, its trajectory unpredictable, its content slightly morose.  after all, not many college-radio bands can get away with singing about dead girls in closets, even if it’s only a passing reference.

cloud nothings album cover7. cloud nothings – “just see fear”

dylan baldi is dangerously close to becoming an infallible voice in the modern alternative rock climate.  whether or not that voice is discernible is another question entirely.  baldi’s fourth round at the helm of cloud nothings yields an intense but concise result, and “just see fear” is a perfect snapshot of the visceral nature of here and nowhere else.  seemingly over before it even starts, the song finds baldi singing confidently, almost gently at times, though the accompanying onslaught of buzz-saw guitar and drums immediately offsets any potential vulnerability.  the fact that cloud nothings has slimmed down to a power trio doesn’t seem to phase baldi, either; he points to the absence of a second guitarist with the unabashedly thin melody in the first half of the chorus before reminding listeners that a wall of distortion is truly the only indispensable member of cloud nothings.  oh, and his screams never fail to send shivers down spines.

shyne coldchain ii cover

6. vince staples – “nate”

vince staples has come a long way from his earliest role as earl sweatshirt’s especially vulgar side-kick, far enough to coax def jam into releasing his excellent debut ep hell can wait earlier this fall.  despite its warm reception, staples’ pivotal fourth mixtape, shyne coldchain ii, was arguably his most critical effort of 2014.  staples paints blunt, vivid images of less-than-ideal experiences throughout the mixtape’s ten tracks, and it peaks with “nate.”  visceral accounts of an abusive, drug-dealing father resound in his lyrics, but an inner conflict arises inside staples; though he concedes that “all i wanted was a hundred grand,” staples aptly recognizes the consequences of his father’s lifestyle.  the bridge on “nate” is crucial, as james fauntleroy essentially functions as an objective third party, summing up the cyclical hopelessness staples witnesses and examines in his music.

caribou our love cover5. caribou – “our love”

dan snaith spoke of the profound impact stevie wonder had on the creation of our love, his latest effort as caribou.  though their work couldn’t be more different from an aesthetic standpoint, snaith did manage to capture the sheer grandeur that wonder routinely brought to pop music.  our love is an unabashed pop record, and its title track is the surging centerpiece.  hell, the back half of the song is better than 95% of music released this year, but the importance of the front half’s static build elevates “our love” into the ninety-ninth percentile.  the bass line that snaith twists and warps into the song’s prevailing theme is just a measly four notes, but it’s his treatment and intense delivery that make it stick to whatever crosses its path.  ever the master of tension, snaith refuses to resolve the theme at the song’s close and leaves the fourth and final note hanging in the balance, forever tonicizing the figure in everyone’s heads.

lana del rey west coast cover4. lana del rey – “west coast”

lana del rey played us all.  an artist once dismissed as vapid and of middling talent was, conversely, lauded this year, thanks in part to her excellent sophomore effort ultraviolence.  but focus also shifted towards the understanding that lana del rey is a character, interested in exposing gender-based double-standards by fully indulging in them, forever daring us to critique her, to tear her to shreds.  most took the bait.  ultraviolence largely found del rey moving away from the technicolor hip-hop that dotted born to die, instead favoring a more nostalgic monochrome aided by dan auerbach’s production.  amidst ballads and grandiose ambitions lies “west coast,” an understated yet compelling song that is by and far del rey’s best piece of work to date.  she pushes ahead in earnest during the verses, but a little palilalia and a descending guitar lick is all it takes for her to lay back into a gorgeous half-time chorus, laden with reverb that figuratively recalls the hazy, beach-centric imagery conveyed on the single’s cover.

three love songs cover3. ricky eat acid – “god puts us all in the swimming pool”

the entirety of ricky eat acid’s arresting three love songs is emotive, but “god puts us all in the swimming pool” is especially heart-wrenching.  the song is a polarizing contrast to its predecessor, the drake-sampling, house-indebted “in my dreams we’re almost touching,” with its static motion pumping the brakes on any semblance of momentum the album had managed generate up to that point.  this poignancy is crucial, as it allows ricky eat acid’s mastermind sam ray to a moment to breathe before ushering in the erratic final quarter of three love songs.  all functions aside, the manipulation of the vocal loop on “god puts us all in the swimming pool” is one of the most beautiful musical moments of the year.

fka twigs lp1 cover2. fka twigs – “pendulum”

in theory, about half of the ten tracks on fka twigs’ stunning debut lp1 could occupy this slot; only one song really stood in the way of her total conquest of this segment.  tahliah barnett’s artistic persona transcends both her initial career as a backup dancer and the current temptation to lump her in with other singer-songwriters.  her output is largely autonomous, sure, but what sets her apart from those who might be considered her peers is her unabashed dedication to center her music around female sexuality.  and as a wonderful article on no fear of pop pointed out earlier this year, that focus on sex and sexuality is so large that it can’t be confined to twigs’ lyrics; it has to consume the rhythm and tonality of her music and the visual aesthetic and tone of her videos.  “pendulum” winds up in this slot because it directly embodies so much of that mentality.  the even-keeled, predictable beat that pans from one speaker to the other is as repetitive and reliable as a pendulum, while the song’s opening lyric clearly establishes sex as the lyrical catalyst.  but there’s a searing presence of cynicism as twigs ultimately is using “pendulum” as a platform to call a vapid, unresponsive lover on his shit.

a toothpaste suburb cover1. milo – “objectifying rabbits” (ft. open mike eagle)

milo’s career over the past two years has been fairly well-documented here at dimestore saints.  from his pair of eps to his cavalcade mixtape to his side-project scallops hotel, we haven’t missed much.  while milo’s first proper album, a toothpaste suburb, delivered some incredibly satisfying moments, it ultimately felt drawn-out and a bit uneven, perhaps because we’re used to consuming his thoughts in more concise doses.  that being said, the highlights of a toothpaste suburb are some of the finest works found in milo’s catalogue.  “objectifying rabbits” arrives just past the half-way mark of the record, and is the second part of a sequential triptych milo previewed before the album’s release date.  following the positively tender “you are go(o)d to me,” “objectifying rabbits” immediately reintroduces momentum into a toothpaste suburb with swelling synth progressions, setting up milo to deliver the finest opening line of 2014: “echolalia / lisztomania / i played my ukulele on the way to la grange, bruh.”  the non-sequiturs are there, but the lyrics are best-examined as an introduction to the song’s subject matter, which seems to find milo advocating for an appreciation of art and a positive outlook on life above all else.  milo dissents against hedonists and plato in his never-ending quest to convey his philosophical views, and open mike eagle’s closing verse compounds these thoughts in falsetto.  milo is a young artist with very complex thoughts, thoughts undoubtedly watered down to fit within the lyrical confines of a song.  although intensely personal songs radiate across a toothpaste suburb, “objectifying rabbits” is milo’s best effort in proclaiming his philosophical ethos.

 

listen to a new song from ricky eat acid

ricky eat acid catas ricky eat acid, sam ray has created one of the most arresting albums of 2014 with three love songs, and he’s also found time to revive teen suicide, plug away at a new julia brown record, and cuddle with plenty of cats.  but ray’s meticulous output as an electronic musician continues at a steady rate; his new ep sun over hills, out for free on july 8th, was announced in a noisey feature earlier today.  accompanying that feature was “angels,” an erratic and sometimes downright aggressive single that embodies the nightmarish theme attached to sun over hills.  take a listen below, courtesy of ricky eat acid’s soundcloud page.