New Music: Subtle, Snakes Say Hisss!, X:144 and SPS

Subtle - Middleclass Kill - For Hero: For Fool (Lex/Astralwerks 2006)


Subtle – For Hero: For Fool / Lex/Astralwerks

I once described Subtle’s sound as the aural equivalent of postmodern abstractionism, a sort of skewed refinement. Well for the second full-length from the Oakland sextet (released by Lex once again, but with the help of mini-major Astralwerks), the analogy remains appropriate, but their music this time around has a particular crispness to it, less bedroom, more studio. Think a Rauschenberg recreated with Photoshop. This is no knock on Anticon stalwarts Doseone, Jel and company, but For Hero: For Fool does miss some of the immediacy because of the polish especially for a sound so fractured; the mistakes and restrictions of lo-fi equipment contain a lot of character. I am impressed with the progression of their almost indefinable avant-hop meets chamber pop sound though, it remains as unpredictable and surprising as ever. Adam Drucker’s (Doseone) voice continues to morph from nasal nuisance to an impressive individual instrument, and his projects are that much better for it. It’s hard to describe this album as accessible, but Subtle is making strides in that direction. While I want people to hear their sound, let’s hope it doesn’t go too far.




Snakes Say Hisss! - I Control the Wind - I'll Be Lovin' You (Famous Class 2006)


Snakes Say Hisss! – I’ll Be Lovin’ You / Famous Class

I can’t say I expected too much from NYC Snakes Say Hisss! Typically, I don’t get into the vogue 80s throwback synth sound, not to mention the band name screams indie over-hype, but I’m a sucker for artwork. I’ll Be Lovin’ You comes packaged in an oversized booklet of hand drawn artwork that refuses to be lost in the sea of colorful side-labels that is your CD rack, mostly because it lacks not only the actual side-label, but the jewel case as well. And what’s embedded into the pitch-black CD? Twelve ridiculously catchy songs well crafted in their simplicity and precisely performed by vocalist/keyboardist Jamie Ayers and guitarist Sam Skarstad. Syrupy synth hooks shimmy over a lo-fi drum machine and subdued guitar interplay while Ayers sings with conviction and playfulness, but he is low enough in the mix not too completely drown out the rest of their sound. I am completely impressed with the synth-pop duo and the small DIY upstart Famous Class; this album is ten times better than any of that Killers/Kasabian/(enter next hype-machine here) nonsense major labels piss away millions on to recreate a sound perfected 20 years ago.




X:144 and SPS - Lose Control - M.E. (Nonsense 2006)


X:144 and SPS – M.E. / Nonsense

The hip-hop underground has been quiet as of late, the calm before a storm. The indie-hop big guns, Def Jux, Rhymesayers, Anticon, etc, have cooled off substantially since the early 00s, releasing a number of misses to each hit rather than the ridiculous up heaving of new talent that appeared on the scene at the turn of the century. Miami’s Nonsense Records are looking to bring in a new wave of independent rap with a promising roster including headliners X:144 and SPS. Sounding like a more soulful Eyedea & Abilities who are concerned with heavier issues than rap battles, the moody, quick-spitting X:144 and proven turntableist extraordinaire SPS (honed in Berlin, battle-tested in the Southeast) is a strong foundation for the label to build upon. M.E. is a quality and interesting record with a high replay value thanks to X:144’s variety of rapping styles and solid production throughout. It’s a breath of relief from a stifling scene.