A Sol Mechanic’s newest EP “just pick me up” solidifies his evolution from beatmaker to producer-vocalist as he ties together blissed-out productions with achingly soulful vocals. David Blazer, the man behind A Sol Mechanic, has garnered a formidable reputation on Soundcloud for his west coast inspired beats that are as emotionally charged, as they are hard-hitting. Featuring a collaboration with label-mate Novelty Daughter, the “just pick me up” EP is a sign of the sun-drenched sounds to come from the prolific A Sol Mechanic.
Los Angeles producer David Blazer, aka A Sol Mechanic, has spent the last few years making beats in his bedroom, digging through endless samples and amassing devoted Soundcloud followers. His new single “Take it Slow” shows off his transition from beatmaker to songwriter, and his desire to explore nostalgia as a means of connection. “I’m starting to think more and more about storytelling in my music. Sometimes in moments of high intensity, things feel like they are in slow motion. The song touches on my desire to relive those moments and find a deeper connection with people, with someone.”
Family Photo is five-piece band currently spread out across Boston, rural Ohio, and Salem, Oregon; but all members are linked by their origins in Sacramento. After three years, two EPs, two tours across the country, and countless experiments in genre-defying musical explorations, the band has finally arrived at its first full length album. All We Ever Do is the product of the band’s relentless efforts over the years to innovate and invert the world of pop music. Their music is a series of songs at its core, but the ways those songs are colored becomes deeper and more complex with every listen. The matrix of chamber arrangements, the jittering electronics, the dense harmonies and sudden style shifts contribute to the music’s searching quality—finding what’s familiar and making it strangely new. For this band of wandering virtuosos, All We Ever Do is just the beginning..
“Hear ye, hear ye! How dare ye go up against the king who do his thing tri-yearly?” - King Geedorah Bass music adventurer Kuh Lida returns for the third time this year with BALL IT OUT BACK IT UP, a six track release that finds the young Chicago producer expanding his sound palette even further: trap 808s rumble, glitch flutterings sizzle and crack, and the jittering of footwork rhythms permeates the length of the record. Kuh Lida can never be pinned down—the music is relentlessly unpredictable. His craft is made of fragments, which at one moment come together to make us dance, the next moment fall apart and leave us in disbelief. .
Subharmonic and soaring, David Blazer’s glistening new set of beat structures spreads over twelve minutes of unraveling repetition. His solo production project A Sol Mechanic explores instrumental hip-hop in the present moment, as it can exist in new moulds and forms. His latest Everything All the Time is a miniature batch of experiments that envelop tinkling percussion sounds, modern jazz harmonies, rusted vocal samples, and treated field recordings. David’s sense of space has never been more dymanic: sounds appear from high and low, near and far, leveling out into a carefully balanced blend of classic neck-breaking swagger and thoughtful futurism. .
The music swirls up from the ground in a wisp of cold air, creaking amongst shifting leaves. It comes to rest on a few fingerpicked chords, circling and shifting as more sounds are taken up, drum skins humming and voices crooning around and around. The folkish weavings of Ohio-based five piece band Peaks are nuanced as they are simply stated, as close as they are just out of reach. Their two new offerings “A Slip” and “Upstate” consider what it means to look for a home, in people, places and time. The result is a music of warmth and knowing, of seeking and waiting.
A thin chord, sharp and grainy, like a harpsichord forgotten in a dusty attic—this is the sound that brings us into the closing track of hwut, the latest handful of tunes by RYV, aka Charlie Abbott. Throughout the record’s densely compact journey, we continually encounter these subtle pops and sizzles, disembodied mutterings, and distorted gasps for air, as if walking through an atmosphere where something is wrong—where sounds are out of place, searching for each other and the place where they might have come from. But this is where RYV’s music thrives: auditory uncertainty mixed with relief, sonic surprises among waves of bliss. Transducing tinkling glitches into swirling rhythms and tonal planes, the young producer dots his aural landscape with sounds both momentary and expansive, frenetic and slowly evolving. The sounds do come together in the end, compelling us to return with them, again and again.
~A big city story of the one thrilling moment in a man’s life that can only be called High Adventure~ This new collection of fuzzed-out breaks and radio drama collages from the back catalog of Stereocure co-founder Kuh-Lida (aka Myles Emmons) sometimes reads more like a sound walk through his own thrift store than a beat tape. Veiled behind layers of dust and tape hiss, the veteran producer presents us with a sound world that he has created out of found objects and hazy imagination, shattered bits of magnetic tape and broadcasted nostalgia. Directing our senses through a maze of swerves and spin-outs at every turn, the music somehow fits together like a jigsaw puzzle, or a vinyl record chopped into a hundred pieces and reassembled with paint and peanut butter. Through thickets of glitch and throbbing blotches of rhythm, this A/B tape release is an auditory adventure from start to finish. ~Wherever you are, look around you. Watch, but don’t live it: this thing we call High Adventure~
Although LA-based beatsmith A Sol Mechanic (aka David Blazer) is a somewhat recent member of the Stereocure family, his creativity and enthusiasm for building a sense of community among local musicians has been a strong presence over the past few years. His solemn yet soaring track on our second sampler compilation is an apt example of the musical depth that he is capable of, but a full-length album is required to really understand the myriad of sonic stirrings and sensations that he can conjure. That’s why we are delighted to present “Emotion Terrace,” A Sol Mechanic’s debut record as a part of the Stereocure community. There is certainly a sense of familiarity to the music on this album; the beats often draw on many of the propulsive sounds that have been driving instrumental hip-hop on the west coast during the past decade. But what sets A Sol’s music apart and really makes it his own is the complexity that accompanies its powerful façade. From angelic choirs to strings brimming with equal parts optimism and melancholy, the record runs us through a spectrum of human feeling from the comfortable perspective of buttery samples dripped over pumping bass. With the raw directness of a beat tape and the refined craft of a polished album, “Emotion Terrace” delivers a layered experience that satisfies the listener on multiple levels, submersing the ears while inviting the soul to listen.
One year ago, we filmed a few live videos of Novelty Daughter (aka Faith Harding) playing guitar and singing at Top Tomato in Mar Vista, CA. The result was simple, direct, and beautiful; but that session was just a taste of what was to come from a woman whose musical gifts reach far beyond just a guitar and a voice. After two sampler contributions, a single, and another live session, Novelty Daughter’s self-titled and self-produced debut EP arrives as the first complete release of music from the Stereocure songstress. The Novelty Daughter EP exhibits a cool consistency of tone and texture: the songs are founded on mellow progressions of piano and keyboard sounds, driven by head-banging beats and filled out by virtuosic vocal lines. While this basic structure stays constant, an underlying ocean of sonic and lyrical subtleties makes this EP an intimate journey through Faith’s world of nuanced imagination. By turns understated and explosive, her original productions often feel more like a set of sound designs than beats: arrays of drum samples rumble and quiver in syncopated serenity, weaving a backdrop that’s perfectly fitted to Faith’s soaring vocals and poignant lyrics. She has an uncanny impulse for turning her subjects inside out, inhabiting a world of everyday social interactions while calling them into question, and making music while considering the worth of making anything at all. These five songs spread themselves out before your ears with a depth and completeness that the compact fifteen minute total would hardly seem to allow: it reads like a novel.
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