Tag: indie electronic music

Electronic music artist, multi-instrumentalist and producer Grant Eadie and his solo recording project Manatee Commune has received regional attention across the Pacific Northwest and a growing national profile for a carefully and organically molded electronic sound that pairs natural overtones extracted from field recordings with slick and nuanced electronic production.

Eadie’s soon-to-be released EP, Thistle, slated for a February 26 release marks two new developments in the young producer, multi-instrumentalist and electronic music artist’s career — it’s his first release through renowned Brooklyn-based label Bastard Jazz Recordings, the label home of Illa J, Lord Echo and several others; and the effort is the result of Eadie radically changing his songwriting, production and recording process as he  opened his studio and gear to friends, collaborators and loved ones, gaining inspiration from the energy of each of those interactions. As Eadie explains in press notes “Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production.”

Thistle’s first single “Clay” pairs a stuttering yet breezy and coquettish production consisting of twinkling and chiming percussion, a looped flute sample, layers of shimmering synths and swirling electronics with Marina Price’s flirtatious and sultry vocals to craft a song that reminds me quite a bit of Sylvan Esso — but bouncier and slightly more dance floor friendly. Considering the Arctic weather we’re soon to have in New York, “Clay” is a brief yet lush and necessary blast of summer.

Catch Eadie live throughout March and April as he tours the Pacific Northwest with Blackbird Blackbird and Chad Valley. Check out tour dates below.

Tour Dates 

3.3 Bellingham, WA Wild Buffalo (EP Release Party)
3.10 Portland OR, Mississippi Studios ^
3.11 Seattle WA, Nectar Lounge ^
4.19 Tucson, AZ Club Congress *
4.20 San Diego, CA The Hideout *
4.21 Los Angeles, CA The Echoplex *
4.22 Santa Cruz, CA The Catalyst *
4.23 San Francisco, CA Social Hall *
4.30 Vancouver, BC Alexander *
^ with YPPAH
* with Blackbird Blackbird & Chad Valley



Bloodline is an extremely mysterious production group who have received quite a bit of buzz across electronic music and electronic dance music circles for a sound that’s deeply influenced by 90s house, as you’ll hear on their slickly produced latest single “Tribute,” a song  club-rocking classic house song comprised, looped vocal samples, layers of staccato synths and tweeter and woofer rocking beats. Sonically, the song manages to bear an uncanny resemblance to a club banging, house music standard, Inner City‘s “Good Life.”

The mysterious production group’s debut effort, EP1 has received quite a bit of attention, as it reached Traxsource‘s Top 10 List, and building upon that buzz, the group will be releasing its follow up, EP2 shortly.


Comprised of John Blonde, Chris Pace, and Brian McNamara, the Brooklyn-based electronic music trio House of Blondes can trace their origins to 2008 when founding members Blonde and Pace met at Smoke and Mirrors Studio. Along with local musicians Mike Ignethron and Paul Reyes, the then-constitued quartet had intended to work on an indie rock-based project; however, as Blonde’s interest in synthesizers and electronic music grew, the project gradually changed into a minimalist electronic project in which Pace and Blonde began working with each other exclusively. The end result was that the duo wound up co-writing and recording the material, which became House of Blondes’ critically applauded debut effort, Clean Cuts along with contributions from producer/engineer George Vitray and instrumentalist Brian McNamara, who would eventually become a full-time member.

While playing an increasing number of shows locally and elsewhere over the last couple of years, including two shows with Genesis Breyer P-Orridge and Psychic TV at the now-defunct Brooklyn Night Bazaar, the members of House of Blondes also spent an intense period of time writing and recording the material that would comprise their recently released sophomore effort, Stranger Still, which was released this past summer. Stranger Still’s 9 tracks are from a combination of live in-studio performances, improvisational jam sessions and much more formally structured songs and as a result the material feels and sounds looser, and intimate as it draws from dub, trance, cosmic house and Kraftwerk‘s motorik grooves. But perhaps more important, to my ears, the material while retaining the space age feel that first captured my attention is warmer, more human. It somehow evokes the sensation of floating through the cosmos and observing the rippling and undulating of the fabric of spacetime as much as it evokes more earthly phenomenon such as pushing and shoving your way through a New York rush hour commute and stopping to stare at clouds parting overhead, without bothering to care if you got in someone’s way.

Album single “Are You Boys Alright?” is an icy and starkly minimalist and atmospheric song consisting of a sparse, gently echoing beat, hazy, droning synths and chanted lyrics. Much like Brian Eno’s ambient sound recordings, the song requires a bit of attention and patience, as it slowly reveals subtle layers of nuance in repeated plays — all while evoking the undulating ripples in a pond and of smoke dissipating into the ether.

Now, Chris Moore is a New York-based producer and mixer who’s been making electronic music since he was a teenager. As Moore told me by email he “quit for a while to focus on production and mixing work.” Last fall, Moore began writing and recording tracks under the moniker Cloud Leopard, initially as a way to get back into the swing of writing and recording.

Moore met House of Blondes’ frontman John Blonde at a bi-monthly electronic music night, hosted and booked by a mutual friend. Moore had been DJ’ing some of his own tracks and eventually Blonde and Moore began chatting about Moore’s production work. Eventually Blonde asked Moore if he’d be interested in doing a remix of some material off the band’s recent album.

As Moore told me by email, his remix of album single “Are You Boys Alright?” is his first remix under the Cloud Leopard moniker. “For the remix, I wanted to combine the cosmic vibe of the original with a dancier energy,” he explained. “So it’s sort of a combination of 70s German kosmische-like Cluster or Manuel Gottsching’s more electronic stuff with a 80s chicago/detroit house / early-90s uk ambient techno vibe.” Certainly, as a result the remix is more propulsive as it shimmers and glistens with a dance floor-ready sheen.

(Album Art Credit: Kurt Sawilla)

Live Concert Review: The Good, The Bad, and The Ugly of Northside Festival 2015: North Brooklyn’s SXSW Offers Thrills and Chills and What The Hell Was Thats

The Good, The Bad, and The Ugly of Northside Festival 2015: North Brooklyn’s SXSW Offers Thrills and Chills and What The Hell Was Thats Founded by sibling duo Scott and Denny Stedman, the Northside Festival started […]