Ebu Gogo- Worlds (2008)

OK ya'll. This one is a fucking godsend if you are unfamiliar. So, the Swords are renowned for Acerolas fantastic tastes and knowledge of all that is math rock, but so far in our coverage of all that is badass, Ebu Gogo has escaped our radar. And it is easy to forgive: the epic trio of Justin, Gavin and Brendan (all original members of the futurerock band Gruvis Malt), upon reaching a permanent hiatus with the band they formed as teenagers, decided to get together as a trio and write music that went back to their roots. What inspired them as musicians? What did they love to listen to, and what musical themes made practicing a fun exercise, instead of the soul-crushing perfectionism that came with a major labels demands? They found that release in Ebu Gogo, a band dedicated to oldschool videogame soundtracks, 80s movies and classical motifs. The results were staggering. Their two albums, Chase Scenes 1-14, and their follow-up, 2008s Worlds, are epic instrumental albums of insane musicianship, melodically intertwined bass, drums and keyboard that shine in all dimensions.

Chase Scenes was a hell of a debut, but in Worlds, they found a flowing videogame theme that made the album something special. There are recurring themes, such as the four part Waterworld suite that spans across the album; nods to the always appreciated Training Montage from countless 80s classics, and the wonder that is H.U.G.S.

Besides H.U.G.S., nothing says Ebu Gogo better than British Knights in Miami, which has one of the most badass breakdowns of all time. Oh god do i love how the drum and bass respond to Gavins keyboards at about 1:13. That shit is just the tightest breakdown of all time. Enjoy, bitches.

British Knights in Miami by ninko

worlds

Stateless- Matilda

I will keep this brief because honestly, i do not know enough about these guys to go into any certain detail besides having a vague understanding of the group for about half a year. Metaghost mentioned them to me, having heard of them from either Gav Castleton or Wallpaper (i think), and showed me a few tunes after he had given the album a thorough listening-to himself. His recent mixes have included Stateless tracks, and after seeing yet another song of theirs among the tracks of his latest mix, it finally hit me to put down some dollars on the iTunes stores and pick up Matilda, their 2011 release. I have only heard it through once, but what has struck me is how coherent it is as a whole. It flows really well, which is something i have appreciated after digesting Dark Side of the Moon, bombed out and alone in a dark room, as a teenager. My favorite artists usually share that trait, and I always love finding a new album that flows as though not only did deep thought go into each song, but also how they relate to and blend into the others.

Ariel is track 2 off Matilda. Its spanish intro guitar lick, and the electronics that enter and sustain after the first chorus lay a nice foreground to the sparse, glitchy drums and dreamy music box ambient synths. And mentioning dudemans voice is not necessary; he carries the album with great melodies and the harmonies to back them up. Check it:



You can pick up Matilda here at the ninja tune website, or pick it up on the iTunes store.

metaghostin' Vol. IX - If I saw double once, then again.

If I saw double once, then again. - 43' 26"
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Side A - What's cooler:

1. The Microphones - "Here With Summer" / Don't Wake Me Up (1999)
2. The Weeknd - "The Birds (Pt. 1)" / Thursday (2011)
3. RX Bandits - "White Lies" / Mandala (2009)
4. Penpal - "Bed Bugs" / Postscript EP (2011)
5. Genesis - "Chamber of 32 Doors" / The Lamb Lies Down on Broadway (1974)

 Side B - An Eclipse or a Syzygy?

1. TV on the Radio - "Playhouses" / Return to Cookie Mountain (2006)
2. Stateless - "Visions" / Matilda (2011)
3. Gavin Castleton - "Swim Good (Frank Ocean x Portishead Mashup/Cover)
4. Mister Metaphor - "The Sunset Song" / This Is How the Day Goes (20XX)
5. noumenon - "Pimpin' Zenith (Pt. 2)" / Split 7" with Rooftops (2009)

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Don't you guys hate when albums are shoddily sequenced? I know people mostly just be listening to their tunes with complete disregard to context, but goddamn do I get salty when I put on a record and things just be arbitrarily jammed together like a motherfucker ain't never eaten a PB & J sandwich. I used to buy Mars Volta LPs, and the first thing I would do is rip it and re-sequence, because those dudes are basically retarded and put their ballads next to their helicopter sound effects.

This Music Moment-2010

Its rare in your life to find artists you began listening to at both the beginning of your life in music, but also in the commercial life of an upcoming band. I can only recall my experience with the various works of the people associated with Gruvis Malt; Jonny Classic is a great album, done by Brendan who was on lead vocal in gruvis; ebu gogo, which formed from the culmination of gruvis; and gavin castleton, and his crazy prolific portfolio. After Gruvis' 3rd album, ..With The Spirit of a Traffic Jam, i began to pick up on some solo projects that Gavin was working on outside of Gruvis. It was some nice stuff; although i didnt dig his solo hip hop albums as much as work such as his experimental electro album Hypotenuse, his work ethic and dedication to the world of music pushed all of his capabilities forward, and he started to release EPs such as Hospital Hymns that dove into completely unexpected genres that gavin was apparently very proficient in.

His standout solo effort, Home, came out in 2009, and it was a perfect advancement of his creativity in a large range of fields. Although it is unrelated to what i set out to post, his song Coffee Locks comes to mind as a song i must share. It starts out classic motown, with the awesome arpeggiated guitar work melding into some very well arranged strings and vocals, and it just escalates from there. The vocal enters, harmonies and instrumentation expands, and in typical gavin style, he brings the track into many unique sections that work so beautifully well in arrangement and fluidity.



Beautiful stuff. Knowing him as first the keyboardist/ backup vocalist for Gruvis, it has been an exciting ride to listen along with his musicial progression.

That brings me to his rendition of Sledgehammer, by Peter Gabriel. This is a video to watch both with headphones and also fullscreened. Gavin began working with live looping at some point in his musical madness, and as a keyboardist with a modern laptop and recording program, gavin had found ways to patch in all the instruments needed to create a fully orchestrated pop song, and on top of those elements, add in his skills at beatboxing and building rhythm sections. His abilities to play incredible, mathematically complicated keyboard lines while singing is unheard of; this is a video of flawless execution. I get lost in that small frame in the upper right hand of the video, that lists all of the loops he is adding, or effects being applied, all with preassigned foot switches and looping tracks. Everything about this is perfect, and i still have not witnessed an equal demonstration of precision and execution that one man utilizes alone.

metaghostin' Vol. 3 - Always Late, Then Never

Always Late, Then Never - 57:40
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So this mix is supposed to serve as counterpoint to a previous mix I posted on my other blog (Sold at the Sign of a Gun) that was dedicated to idea of the terrible break-up. Here we have a tale of enduring love, whether that's a love of God, love of Adventure, or just your everyday love, one that might move away and then return on a rainy day. Hopefully it brings some better vibes than the last one.
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1. "Acknowledgment" - John Coltrane / A Love Supreme (1964)

Da-dum da-dum / da-dum da-dum

This record is responsible for really changing my perspective on Jazz music, the first time I really had my soul moved, instead of just passively boppin' along. And it's not just one master blowing his sax, that whole crew was buckwild, and even today I'd say McCoy Tyner defines what I consider to be the sound of "Jazz" chord, that sound of P4 triads.

2. "Hardwood Floors" - Facing New York / Get Hot (2008)

This record is one of these things that straddles so many intersections of styles without really committing to a tangible style, resulting in what is definitely a "grower", chock full of hooks and grooves and dope subtleties and random little one-liners. All of us here at Plenty of Swords are heavy into the whole steez of Eric Frederic, aka Wallpaper, so it should be no surprise to see us talk about FNY etc....

3. "P.Y.T." - Michael Jackson / Thriller ( 1982)

I know lawyers gonna jack this mix because of this track, so fuck yo face up and get it while you can.

4. "Warpaint" - Gavin Castleton / Home (2008)

I talked about dude's band Grüvis Malt in a previous mix, so I'mma try to keep this brief. Guy is so nasty that he can make crazy prog-pop records full of retarded zombie metaphors that are still ridiculous touching in a "yo, this is some true emotion I'm feeling but I thought I was a robot whaddupwitdat?" and then you hear his songs in a mall and it doesn't even confuse you even though it should.

5. "Wayfarer" - Kayo Dot / Choirs of the Eye (2003)

Beautiful wandering sounds.

6. "Everything Must Go" - Foreign Exchange / Authenticity (2010)

The title track of this album is what inspired the initial break-up mix, as I just couldn't figure out how to fit it into any other style of mix. Though this track isn't especially indicative of the content of that record, it functions similarly within the context of the album and this mix, as palate-cleanser, slight pop-number, and emotional reset button.

7. "Ariel" - Stateless / Matilda (2011)

I was telling acerola about how addicted I was to this recent release, so I figure I should sneak a track in somewhere. I first heard of the band because some work they did with the previously mentioned Gavin Castleton. At the time, I didn't really think much of them, as that very British bippity-bop electro-pop type stuff indebted to Portishead or whoever just isn't what I was feeling and still don't. But here they've beefed up their sound, embracing all this super low-end club-fuzz and glitchy crackle and other production tweakage, while keeping things packaged into very concise pop structures highlighted by great vocals. Apparently they worked with a Bjork-affiliated producer, and it definitely has an aura of Vespertine to it.

8. "Watching You Watching Me" - Kate Bush / Hounds of Love (1985)

Sometimes this song is unspeakably creepy.

9. "Creature Fear / Team" - Bon Iver / For Emma, Forever Ago (2007)

Mumble mumble mumble.

10. "Lover, You Should Have Come Over" - Jeff Buckley / Grace (1994)

One of the best love songs ever.

11. "Cicada Sing the Galaxy" - Natsumen (2005)