Ingrid Michaelson
“Human Again”
Mom+Pop

With her lilting voice and nerdy, girl-next-door looks, Ingrid Michaelson has charmed an audience and built a career around her good-girl appeal.

But that’s not to say there’s no substance behind her style. Michaelson’s career is both an indie success story and a commentary on the current nature of the music business. In an environment where it is easier than ever to make music, where everyone has a website and a YouTube channel, it can be, rather ironically, harder and harder for musicians to get their songs heard. Commercial radio is simply not as much of a factor in introducing new artists, and musicians must pursue other avenues to reach an audience.
 
Michaelson first got attention for song placement in television shows such as “Grey’s Anatomy,” and later by licensing her songs for TV commercials. Once upon a time, an artist that sold a song for commercial use was considered a sellout. (Remember when Neil Young declared that he wasn’t singing for Pepsi or Coke?) Today it’s the opposite. An artist can have a song on TV before a single on the radio. For Michaelson, “selling out” was the stepping stone to the audience she has now. When Old Navy picked up “The Way I Am” (from her 2006 record “Girls and Boys”) it helped pave the way for her career.
 
With her clever, literate lyrics and sometimes quirky, well-crafted pop songs, perhaps Michaelson’s success was inevitable. I never watched “Grey’s Anatomy” or saw those commercials. I came to appreciate her the old-fashioned way: by falling in love with her voice (and, to be honest, her looks). It may have been her persona that first got my attention, but I stayed for her songs.
 
On her new record, “Human Again,” Michaelson delivers more of the deeply textured arrangements and soaring vocals that are her trademark. And while she has always sung about both love and loss, this time around the emphasis centers more squarely upon the loss. “Human Again” is clearly Michaelson’s take on the classic break-up album.

As if there were any question, the record opens with “Fire” as she sings, “Open heart surgery/That is what you do to me.” She then moves right into “This Is War,” another heartbreaker featuring the lines “It’s a wonder at all that I survived the war/Between your heart and mine.” Thankfully, the third track delivers a bit of a respite with the upbeat tune, “Do It Now,” a catchy number and an admonition to seize the day.
 

“I’m Through,” however, may be the saddest song on the album, literally aching as she goes out to dinner with a new suitor. But her mind is in the past; clearly she is not through with heartache, not yet. At times such sadness can be a bit too precious, as on the first single, “Ghost,” complete with a video featuring lyrics written on her arms and body. It’s all a little much, even if play counts are sure to rise in the lonely hearts club of her fan base.

The sound of the album sharpens the focus. The driving string section that opens the record lets the listener know she means business: She’s not taking heartbreak lightly. Sweeping strings color several of the songs, notably album closer “End of the World.” Her ukulele appears as well, although this time around it’s not on a bouncy pop tune; it’s juxtaposed against the darker lyrics of “This is War.” But for all of her musical complexity, Michaelson is also keenly aware of how a sparse, acoustic guitar part will serve a song just as well, as on “Ribbons” and “How We Love.”
 
It’s not entirely doom and gloom here, although her lovesickness is most convincing when it’s a bit more wistful than bleak. “How We Love” is a perfect example as she sings, “We hate the rain when it fills up our shoes/But how we love when it washes our cars/We love to love when it fills up the room/But when it leaves, oh, we’re cursing the stars.” The song is a deft character sketch of a lovelorn man and his missed opportunities. There are almost no happy endings here, and yet, for all the loss and heartbreak, for all the battles of the heart, the album closes, almost hopefully, with the poignant and beautiful “End of the World” as Michaelson sings, “At the end of, at the end of the world/Will you find me?/So that we can go together.”
 
These are strong songs, nevertheless, and “Human Again” is a fine release from a vibrant, still-growing artist. A few questions remain: Will fans accustomed to the upbeat Ingrid be put off by the heart in-her-hands Ingrid? Or will they stand by her until she fully finds her quirky self again?

www.youtube.com/watch?v=SwwLohz2Uq8

Video still by Joseph Fitzgerald

Pretty Little Empire is a force in the St. Louis music scene. The affable quartet’s sophomore release “Reasons and Rooms” was one of the best locally-produced records of 2010, and their inspired, rock-solid live sets have only been getting better over time, with no bound in sight.

The band is currently hard at work on LP number three, with recording taking place at Cherokee Street’s Native Sound studio. While we wait to hear what they’re cooking up, perched at the edge of the seat, they have been kind enough to temper our thirst by releasing a video for their non-album cut “All I Know.” The song has been a staple of their live shows and was released in 2011 on the “STL LOUD Vol. 2″ compilation.

This burning, mysterious track is a keeper, and it gets proper visual treatment thanks to a few of the band’s talented friends. I recommend that you experience it with headphones on, video set to full screen.

www.youtube.com/watch?v=MsnKC6USvp4

commons.wikimedia.org

There’ve been a few additions to the venue scene of late, but I’ve neglected to note a subtraction: the days of touring acts at St. Louis University’s the Billiken Club are apparently over. It was rumored that the fall schedule would signal the end, and an open-mic is the only event posted for the spring.
 
I’m sure many fans of their free shows are bummed, but I appreciate having one less website to track; it’s becoming quite a task to follow all the ones on my radar. I think we’re easily at a saturation point with venues, absent a bunch of young folk following the leads of Pokey LaFarge, Paige Brubeck/Evan Sult (of Sleepy Kitty) and David Beeman (of Old Lights) by migrating here, along with most of our own sticking around.
 
Yes, Virginia, there really is a December show calendar still lingering on the Mangia Italiano website. If you know someone who’s gonna be playing there, better tell ‘em to self-promote extensively; the venue usually waits until the day of a show to do Facebook posts, which isn’t much help.
 
There are a reasonable number of shows worth recommending this weekend, although there’s nothing of interest on Sunday for a change. I guess the Super Bowl alternative concept is on hiatus.

Friday, February 3        
 
I should’ve mentioned this in the last edition, the Dr. Lonnie Smith Trio is this week’s act at Jazz at the Bistro (3536 Washington), playing organ-centric bop in the spirit of Jimmie Smith. Ryan Wasoba offers his impressions of them for the RFT.
 
Sets are at 7:30 and 9:30, with a $30 cover ($25 if you can make it to a Thursday set; $10 for students at all shows), attendees of early sets are often invited to stay for the second. Smoke-free.
 
Marleyfest 8 with Murder City Players and guests
Blueberry Hill Duck Room  6504 Delmar  9:30-1  $15  Smoke-free
 
It’s been a pleasant winter here, but it’s still warmer in the Caribbean, where MCP, our town’s reggae institution will take you (at least in your mind) as they lay down riddems for Prince Philip, Tony Rome and several guest singers in their annual tribute to Rasta Man #1. 
 
Miss Jubilee and the Humdingers
Beale on Broadway  701 S. Broadway  10-2  $7  Smoking, moderate to heavy
 
High-energy swing-jazz and R&B sounds from MJatH.
 
I assume this takes place indoors, which means it’ll be cramped, and probably quite smoky.
 
If you feel a need to do some cretin hoppin’ instead of swingin’ or groovin’, you can head to Off Broadway (3509 Lemp) to check out Punk Rock Isn’t Dead, It Just Smells Funny. Bass Amp & Dano headline, joined by the Haddonfields, Black for a Second and the Chill Dawgs. The show starts at 8, with a $7 cover (+3 20-under). Smoke-free.
 
Saturday, February 4
 
Jazz at the Bistro hosts the Dr. Lonnie Smith Trio for their last two sets, same details as Friday.
 
The Blind Eyes / Bo and the Locomotive / Mutts / Sleepy Kitty
Firebird  2706 Olive  9-1  $5 (+3 18-20)  Smoke-free
 
This show celebrates the venue’s third anniversary with a diverse bill. Soulful, jangly pop from TBE. BatL are fronted by Bo Bulawsky (son of Magic City frontman Larry), playing indie rock with a folk rock vein. Chicago trio M have a gritty, blues-rock sound that’s reminiscent of Black Diamond Heavies. It’s been a while since SK has played (to my knowledge), the duo offer a pop-rock base melded with improvisation via loops and effects.      
 
Swing DeVille

Schlafly Bottleworks  7260 Southwest  9-12  Free  Smoke-free
 
Fans of western swing or jazz artists like Django Rinehardt and Stephane Grappelli will dig SDV, sweet sounds from players with serious chops.
 
Marleyfest 8 wraps up night two at Blueberry Hill, same particulars as before.
 
Your humble servant,

Dick Caveat

facebook.com/jackwhite

Farewell to the chief engineer of Soul Train. Don Cornelius has died.

Alan Lomax dreamed of a global jukebox of folk music and culture. That dream is about to come true.

Lana Del Rey has had a really bad couple of weeks. Or has she?

Coming to a theatre near you soon: Katy Perry in 3D.

RIP King Stitt, reggae dancehall legend.

Abigail Washburn is back from a rather extraordinary tour of China, and she has the video and photos to prove it.

Fucked Up counters (not really) by streaming all of its Chinese New Year singles (really).

Adele is slated to appear at the Grammys. Ditto for Glen Campbell.

Dear Mr. Gingrich: Better luck with “Eye of the Newt” as a theme song.

Listen to “Love Interruption,” the new single by Jack White.

Fader shares a new MP3 by Vancouver’s Teen Daze.

UK acid housers Happy Mondays are reforming and touring. No US dates as yet.

So, you were probably wondering: “Just how many songs get shared on Facebook monthly?” About 1 billion.

Brooklyn Vegan shares a new song from the forthcoming Jim Jarmusch and Jozef Van Wissem album.

John Morthland profiles Don Robey and the Duke-Peacock label.

Village Voice Media has thought better of suing to keep control of two little words: “Best of.”

Was January 20, 1992 a really, really good day for Ice Cube? “Nice try.”

Neil Young and Crazy Horse set first live show in eight years.

Techdirt shares an infographic on the entertainment industry. Spolier: It’s a happy infographic.

Garbage (the band) is making a comeback. Shirley Manson speaks.

Patterson Hood and Mike Mills (and friends) take on Walmart, in video and song.

The Flaming Lips have a new band member. Her name is Siri.

The Black Keys’ Dan Auebach digs into Nashville cuisine with Bon Appétit.

Not to be a killjoy, but the Super Bowl is about money, not sport. Gary Glitter likes it that way.

wikimedia.commons.org / Ueli Frey

Now and again in addition to co-hosting the reggae radio program Positive Vibrations on KDHX I do club spins. No chatter, just a lotta platter. Roots, dub, dancehall from eighties to present as long as the music’s conscious, or at least thoughtfully sexy and wittily worded, with a couple of shakes of rock steady.

One October Saturday night a couple of years ago, I did the early set, 6-10 p.m., at Atomic Cowboy. As regular denizens know, even among nightspots in the Manchester Grove, Atomic is set apart, a 3 a.m. nightclub-restaurant (better than average food, too) with music ranging from hip hop and house DJs to indie rock and jam bands. Servers can be expected to wear a mélange of leather, denim, piercings and tattoos, a point I mention only because of the contradistinction soon to appear. I was in their outdoor space on a raised stage in front of the patio and covered bar. A bonfire to my left would begin as soon as the sun went down.

The night was warm with a light breeze. First hour I came out with old time Treasure Isle, original riddims sliding into newer versions, same thing with Studio One, stirred and shaken with top-shelf dub. People arrived in trickles. Next hour I flicked the discs experimentally, Ernie Ranglin merging into Thievery Corporation, a Bob Marley “Stir it Up” running into a Nigerian tune with the same structure, and ran a sequence of new takes on old riddims, including Bob Marley’s “Coming in From the Cold” and Desmond Dekker’s “(007) Shanty Town.”

The real energy was at a picnic table, eight middle-aged folks of Indian descent hunched into each other, six on the benches and two on chairs on each end. A couple of the women wore saris, but the rest were in western attire. Several times I looked their way; the people didn’t seem perceptibly affected by the music. They ordered a full dinner and several rounds of drinks. Off to the side, purely for decoration, the bonfire was lit.

In the last hour I put on a dub and went to the bar so I could start tapping the $20 credit that came as part of the deal. One of the men from the picnic table was standing there, and I nodded at him. He began talking.

The man was sixty-ish, wearing the retiree’s regulation plaid shirt and a crisp haircut, and bore the aura of an immigrant freshly dispensed from the church van for an elderhostel lecture. He and his kin had heard my jams for a solid hour and a half, and I would have enjoyed being reggae ambassador for a minute but I had set the music loud. I could hear almost nothing beyond chin-kuhchun, chin-kuhchin of guitar, backbeat and the wicked Prince Jammy-produced crash of the cymbals.

I began thinking the man was a pharmacist, likely somebody unaccustomed to nightclubs. Maybe he and the missus originated in New Delhi early that morning and had been in transit all day. I began trying to imagine his story. They had just gotten off the plane, and the diasporan relatives had taken the weary couple directly to midtown St. Louis for their first night in America. To Atomic Cowboy for dinner and music. This must all seem very strange.

“Could you play Bob Marley?”

Well I heard that loud and clear. He pronounced the first name the way I’ve heard a lot of Jamaicans do, with a long o. I was relieved. “I’ve got your Bob Marley right in my bag, BE GLAD TO.”

This was already building up to be a pretty good example of 21st century multiculturalism. Three decades after his death, in the gray urban bosom of middle America, Bob Marley was the lingua franca in the meeting of two men, neither of whom were of African Caribbean descent, neither with roots in Jamaica, neither, perhaps, having much of anything in common with his counterpart except an affinity for Jah music.

Indeed, however meagerly one man’s life may resemble another’s, however little we may know of the existential pressures or perceptions or actual lived circumstances of the other, there is always Bob Marley to bring us together.

I wondered how he discovered Bob. Perhaps years ago he had heard a hippie singing “Three Little Birds” or “No Woman No Cry” on a beach or in a public square when he was on holiday with his wife. Maybe his son went to university, took a shine to the roots music of Jamaica’s 1970s and played some of it when he came home, the family submitting to the borderless charms of reggae.

If the music hadn’t been so bloody loud, I’d have asked the man about his favorite Bob songs. Maybe the guy was really in the know and dug the Lee Perry productions (is there anything finer than the original “Trench Town Rock”?) not just the honorable if overplayed Island greatest hits.

Furrowing his brow he talked a little more, while I nodded and calculated exactly how long I had before The Aggrovators would begin to fade. Time to ferry my drink back through what was now starting to be an actual crowd that needed bowling over with heavy riddim. Just as I was beginning to say, THANKS FOR COMING! the man repeated his request and I was better able to hear.

“So you will play ‘Volare’.”

I was smiling at him and starting my lope toward the stage just as I realized what he’d asked for. Back at my station I shook my head as I thought of him wondering which version he was going to get, Dean Martin or Bobby Rydell. Fellow wouldn’t get his request, and I felt bad about that and just a tad wicked too as I lay needle to Sugar Minott singing ease up to the immigration man.

Later I cruised the Internet to see if there are any reggae versions of this dramatic Italian ballad (there aren’t) because although I’m not likely to have many patrons from the Indian sub-continent in the house when next I spin, it seems that reggae could make a home for the “Volare” vision:

I think that a dream like that will never return
I painted my hands and my face blue,
then was suddenly swept up by the wind
and started to fly in the infinite sky.

Bob has his own tune with that theme, and I hope the man finds it, a song about the singer being so high he “even touch[es] the sky, above the falling rain.” The quest for infinite space. I wonder now what the man was trying to tell me. “In the abundance of water,” Bob sings of the wide nourishing space around us, “the fool is thirsty.” The lyric has long been one of my reggae koans, always bringing me to a place of meditation, this proverb about mindfulness.

I suddenly remember my first time at the Sierra Nevada World Music Festival in California and a woman coming down the hill through a sea of people dancing to Bob Marley music as a DJ played in the afternoon. The woman was wearing a tee with Bob’s smiling face plastered large on the front; braless, arms outstretched and palms upward, she was dancing in such a way that the jiggle of her breasts made Bob look as though he were laughing. Bob trod over the divide and became palpably present to me in that instant, his voice blaring from a stage many years after his passing, a woman so sensually in tune with the music that her dance seemed like a form of prayer and an act of love, Bob there like a hologram going aha ha ha ha ha ha ha ha ha ha with the woman’s easy jounce. A crossing of infinite space, light like a feather / heavy as lead, then gone. Give thanks. Selah.

Tune in to Positive Vibrations on 88.1 KDHX on Saturday, February 4 from 9-11 p.m. Central as I do my annual Wailers Family Tree show as a tribute to Bob Marley, born on Februay 6, 1945. A slew of Bob classics from the sixties to 1980, choice cover versions, vinyl-only Bob dubs, Bob riddim revival tunes, Peter Tosh, Bunny Wailer and Marley second generation.

facebook.com/thiswilldestroyyou

St. Louis improvisational jammers Key Grip opened up the night at the Firebird with space-bent ambient tunes. From what I could gather, their entire set consisted of a single continuous song.

Due to my inability to navigate downtown well, I was only able to catch the last twelve minutes of Key Grip’s set. Vocals were scarce from the band, but when present reminded me a bit of Thom Yorke. The brightest moments in the song came from an occasional explosion of noisy keyboards. The tune never seemed to wander much away from its root notes, but the audience already gathered swayed metronomically with the droning beats.

Next up, John LaMonica out of Lawrence, Kan. helmed a solo electronic set. Relying heavily on vocal effects and tracks played from his laptop, LaMonica performed multi-layered glitch songs. I was expecting more of a singer-songwriter set, but instead LaMonica was more akin to a DJ with all original material. His music was chilled out, in rare moments rising and breaking off to leave a trailing, effects-laden vocal loop. A few of LaMonica’s tracks dabbled with hip-hop beats, while others felt right at home with bands such as Washed Out or Baths. The repetitious and differing levels of intensity felt cathartic live, but I feel LaMonica’s might suit me better coming through a pair of headphones.

When I came back indoors from enjoying the awesome evening weather, Amen Dunes had taken the stage. I immediately started humming along to the first song, although I had never heard it before that moment. A two piece out of New York, the band left me searching my mind all night for a similar artist. Amen Dune’s music has a certain familiarity to it, always just on the edge of bursting out from under echoing waves. Utilizing only a guitarist/vocalist and a drummer, the band touched on cheery psychedelia and repressed pop. Frontman Damon McMahon used his voice to blend in with his wonderfully drawn-out chord progressions. The drummer’s parts were more atmospheric than driving, which worked well with the band’s vibe. Absorbing the tunes created a kind of a body buzz, just a few steps away from a stoner-rock show.

Going into the show, I had some concerns as to how This Will Destroy You‘s studio albums would translate live. Their particular brand of sweeping post rock is the type of music I would usually put on to wind down for the night or write a paper. This Will Destroy You demolished those concerns upon launching into their first song “A Three Legged Workhorse,” which is also the first track off their first self-titled release. Bass rumbles and savage tom thuds reverberated throughout the room, encapsulating the venue before dropping into drowsy, airy openness. The two guitarists worked together magnificently, with a seated guitarist playing long, held notes as the other controlled dynamics with delayed tremolo picking.

This Will Destroy You stays more to the lighter side of post-rock, but at the crashing of a cymbal would cascade into a doomier, distorted realm. There’s something primal under their skin, echoing through the tension of their muscles, waiting to manifest itself with a dynamic change. Their ability to perform calming waves of technically beautiful numbers and dulled walls of weaving sound set them apart in their genre. Dynamic control is This Will Destroy You’s specialty, knowing when to ease out with a smooth, ethereal organ note or to climax with stormy guitar attacks.

Whether experiencing their recordings or their shows, I find it hard to recall certain song names or even album titles due to the nature of their sound. With no vocals to identify hooks or definite ends of tracks, a This Will Destroy You album is much like their live set. Not a word was spoken from the band until they reappeared for an encore. Thanking the audience for making them feel welcomed, the band jokingly announced they would play a song entitled “Moneyball.” Their song “The Mighty Rio Grande” recently appeared in the aforementioned Brad Pitt film, marking a beautiful scene in which breathtaking cinematography spans across American baseball diamonds.

In the end, I left the show stunned; my consciousness was changed, if not literally destroyed.

facebook.com/ryanadams

It was an evening of pure, solo-acoustic sound and songs at the Peabody Opera House last night with Ryan Adams and opener Jason Isbell.

The newly-renovated and recently-reopened venue is beautiful, with great acoustics that rival even the “acoustically perfect” Sheldon Concert Hall. The interior is spacious and ornate, with a large seal of St. Louis prominently displayed over the stage. This was my first visit to the Opera House since it reopened last year, and it was a pleasure; the venue was ideally suited to Adams’ solo acoustic performance.

Adams took the stage a bit late, with an intimate set up affording him a chair, two guitars in the red, white and blue hues he favors, and a small upright piano. His attitude was that of a guy just hanging out in his living room, playing a few songs for a group of close friends, rather than that of a man playing to a near capacity crowd in an intimate, early 20th century theatre.

He opened with his standard show opener, “Oh My Sweet Carolina,” from his classic album, “Heartbreaker.” What song he would do next on this (or any) night was anybody’s guess. Although shows are similar from night to night, his set list is largely improvised. A mercurial performer, he relies on notebooks and his own whims for inspiration. He likes to mix it up, improvising on songs as well as the set list, and, as he says, making it up as he goes along. It’s not all as off the cuff as he likes to make it seem, however. I recently saw his extended performance from the Ed Sullivan Theatre online on “Live on Letterman.” There he performed several of the same songs, and included some of the same banter. So, it definitely takes work to make it all seem as effortless and spontaneous as Adams does.

He was perfectly at home in this environment though, showcasing his songs, and sharing some amusing anecdotes and jokes between tunes. The crowd was hushed, and even occasionally shushed each other, as Ryan worked through a set emphasizing his latest release, “Ashes & Fire.” Every note and nuance of the performance could be heard, although the drawback to those wonderful acoustics is that every noise from the audience could be heard as well. Adams was both funny and engaging as he moved about the stage, deciding what to do next. He began seated, center stage, guitar in hand, occasionally adding harmonica and consulting his notebook for inspiration. He then moved to the piano to perform a few numbers; eventually he moved to another mike, set up on the other side of the stage, to perform standing. “Nothing’s gonna change,” he said as he moved over to the other microphone. “I’m just gonna stand — so large portions of my ass won’t fall asleep.”

Everyone goes to a show hoping to hear their favorite songs. And anyone who knows anything about Adams knows that he is an extremely prolific. He has a huge catalog, so the chances of hearing one’s own personal favorites may be small. Audience members occasionally shouted out requests, which Adams basically ignored. For me, however, the highlights were “Lucky Now” and “Chains of Love” from the new record, and one of my all time favorites, “Firecracker” from “Gold.” He also performed “The Rescue Blues” from the same album, and a reworked version of “New York, New York” on piano. It was quiet and engaging, but I think I still prefer the frenetic acoustic guitar version of the original recording. He is also known for his eclectic choice of covers, and included a version of the Oasis hit, “Wonderwall.”

Jason Isbell, formerly of Drive-By Truckers, opened the show. His short set of homespun acoustic folk rock was well received, and it was obvious that many in the crowd were as interested in hearing him as Adams. “I should hate Jason,” Adams remarked later. “His songs are so good.” He even joked that Isbell’s songs could kick his own songs’ asses in a barfight.

Isbell’s set differed little from his recent appearance with John Prine at the Touhill Performing Arts Center in December, but he seemed much more relaxed this time around. Isbell also commented on the acoustics of the venue before launching into a beautiful version of “Alabama Pines.”

Of course, Isbell came back out on stage to join Adams for the last song of the encore. After Adams, and the audience, sang “Happy Birthday” to Jason (his birthday is February 1) they closed the show together with the Isbell-penned, Drive-By Truckers song “Danko/Manuel” from the album “The Dirty South.” They sounded great together, leaving me thinking they could have shared a few more tunes.

If shows like this are what we can continue to expect at the Peabody, then St. Louis is lucky indeed to have this venue open once again.

Kate Estwing

I really enjoyed working on this playlist and presenting it alongside Reflections of the Buddha at the Pulitzer Foundation for the Arts. Some artists and labels that sprang to mind immediately, played heavily into the final mix, such as artists Four Tet, Tycho and Moby; and labels like Ghostly International, Warp, and Om.

Peruse the setlist below and please support the artists if you enjoy what you hear. Reflections of the Buddha continues to run through March 10.

Sound Waves, a collaboration between the Pulitzer Foundation for the Arts and 88.1 KDHX

Thursday, January 26, 6-9 p.m.

(Playlist as Artist “Song” from “Album” on Label)

Chad Valley “Reach Lines” from “Equatorial Ultravox” on Cascine - listen

Birds & Batteries “Sneaky Times” from “Up To No Good” on Eightmaps - listen/download

Flying Lotus “Zodiac Shit” from “Cosmogramma” on Warp - listen/video

Massive Attack “Inertia Creeps [Album Version]” from “Inertia Creeps” - listen/video

Porcelain Raft “Tip Of Your Tongue (Keep Shelly in Athens Remix)” from “Tip of Your Tongue Remix EP” on Acephale - download

Kodak to Graph “Zagroz” from “Visio’l EP” on Bad Panda Records - listen/download

Orbital “Halcyon (7″ Version)” from “Work 1989-2002″ on FFRR

Four Tet “Circling” from “There Is Love In You” on Domino

Kissey Asplund “Move Me (feat. Soliloquy)” from “Om Lounge – 15 Year Anniversary Edition” on OM

Air “Run” from “Talkie Walkie” on Astralwerks

Goldfrapp “Let It Take U” from “Supernature” on Mute

Tycho “The Disconnect” from “The Daydream / The Disconnect [EP]” on Ghostly International

Björk “I Miss You (Dobie Part 1)” from “I Miss You (Disc 5)”

Gabriel Rene “Absynthesis” from “OM Lounge 2″ on OM

Beastie Boys “Bodhisattva Vow” from “Ill Communication” on Grand Royal/Capitol - interview with MCA

Starkey “Beta Tester” from “Open The Pod Bay Doors” on Ninja Tune - listen

Portishead “Glory Box” from “Stealing Beauty” on Capitol

Flying Lotus “Auntie’s Lock (ft. the Life Force Trio)” from “L.A. EP 3X3″ on Warp - download

Bibio “Saint Christopher” from “Mind Bokeh” on Warp

Teams “Bali” from “Catch Pool EP” on self-released - listen

Moby “Grace” from “I Like to Score” on Mute Records

Goldfrapp “A&E (Maps inst. Remix)” from “A&E [EP]” on Mute

Take “Tuesday Never Comes” from “Earthtones & Concrete” on Inner Current Recordings -listen/download

Bonobo “1009″ from “Black Sands” on Ninja Tune

A Tribe Called Quest “Electric Relaxation” from “Midnight Marauders” on Jive

Gold Panda “Same Dream China” from “Lucky Shiner” on Ghostly International - download

Waldeck “Cut More Cheese (Supercheese)” from “The Night Garden (Reflowered)” on E-Magine

I, Ced “Flyin Under Water” from “All In My Mind” on Record Breakin’ - listen

The Rice Twins “For Penny And Alexis” from “Speicher 33″ on Kompakt - listen

Matthew Dear “Deserter” from “Asa Breed” on Ghostly International - listen

John Carpenter / Mlle Caro & Franck Garcia “Arrival At The Library/Far Away” from “DJ Kicks: Booka Shade” on !K7

Chairlift “Somewhere Around Here” from “Does You Inspire You” on Kanine

Stars “He Lied About Death (Metric Mix) (DIRTY)” from “Do You Trust Your Friends” on Arts & Crafts

Four Tet “Reversing” from “There Is Love In You” on Domino

Tosca “Suzuki” from “Suzuki” on G-Stone Recordings

Alexkid “Turn It Round Again (feat. Ian James Whitelaw)” from “Mint” on Play It Again Sam

Longwave “Daysleeper” from “The Strangest Things” on RCA

Tycho “The Daydream” from “The Daydream / The Disconnect [EP]” on Ghostly

Star Slinger “Small Black – Photojournalist (Star Slinger Remix)” from “Remixes 2010″ on self-released -listen

Lusine “Two Dots” from “A Certain Distance” on Ghostly International - listen/video

Moby “My Weakness” from “Play” on V2

beep!kate