It’s hard to believe but The Aftermath is over four years old. Four years? That’s surprising considering my attention span rarely lasts more than a few hours. Countless ideas have been dropped, switched out, forgotten. But for whatever reason The Aftermath prevails.
In that four years I’ve started to notice patterns. Which artists consistently pop up on news feeds? Who’s still around four years later effortlessly churning out music?
We’ve blogged them again and again and again. And they show no signs of dissapearing. I give you Fever.
Pop is a bit of a dirty word in music, isn’t it? Pop. It conjures up tired 90’s imagery – Britney’s Spear’s in a school girl’s outfit, Michael Jackson sweeping the ground with thrilling dance moves or Taylor Swift blowing a kiss to the boy next door. Pop is what mainstream radio stations churn out until your ears bleed. Pop transports you back to awkward High School dances and corny mix tapes. What about modern Pop? Contemporary Pop? Ahhh not much better – that’s teeny boppers crying at a Beebs show.
What’s my point? It’s a damn shame Pop has grown a reputation for pure corniness because when it’s done right, it can be killer. Case in point: RÜFÜS and Roosevelt, two European bands hell-bent on redefining what it means to play Pop. Take a listen to their new releases.
In the musical genres older than those The Aftermath deals in, say, jazz, folk, or classical, catalogues abound. Whether it’s recording sessions, live performances, or a collating of an artists’s collected works, there are generous archives for whom the eager Django Reinhardt or Jelly Roll Morton fan could explore. Yet, the library for electronic music, to use the broadest of relative terms, is not so well-packaged. The Internet, however, can illuminate what for most contemporary music fans is otherwise a smattering of .mp3, Limewire, YouTube, iTunes and Soundcloud files.
Used cogently, the tangle of keyword searches and a general ear-for-things may eventually prove fruitful. Greco-Roman signee Roosevelt, is a Cologne-based musician who excels at a certain pouncing synth and looping-vocal jam. While we’ve enjoyed the beauties of Roosevelt’s touch here before, like anything worth raving about, you return to it continually. Enjoyed with the proper sound system, these remixes should enliven and inculcate the listener into not only Roosevelt’s motifs, but the sensibility of the Greco-Roman label writ large.
At any rate, here is a footnote for the databases, catalogues, and music libraries of the future.
In a bit of reverse engineering, this “short” Roosevelt remix which takes a ten-minute atmospheric song condensed into three finer ones of gurgles and echo.