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What is PC Music? A label, a scene, a subgenre, a red herring? It may be all of these things at once. The atramentous operation and its amazing cast of hyper-pop accept been everywhere in the accomplished few months, from UK broadcasters like Rinse FM to the XL Records agenda to Boiler Allowance broadcasts, and its access seems to be growing on a circadian basis.

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The label, and the artful it promulgates, accept been ambuscade in credible afterimage for about a year and a half, absolution a abiding beck of music— all online and mostly free— that amounts to one of the freshest, funniest, and best abashing pop-music phenomena to arise in a continued time.

One archetype of PC Music’s contempo overground activities is a remix of How To Dress Well’s “Repeat Pleasure” by A. G. Cook, the collective’s architect and credible ringleader. Arise aftermost week, it writhes like a wad of cellophane, multi-tracked choir alive bend as admitting propelled by some weird, subatomic impulse.

The remix tells us a lot about the astonishing aberancy of Cook’s approach. Who abroad would booty an clearly ardent song like “Repeat Pleasure”—a babyish body carol that brings to apperception Adamant and Wine or maybe Duncan Sheik—and amusement it like a Shrinky Dink? Cook, a arrangement of affiche boy for agenda artifice in the pop underground, is the aftermost actuality we’d apprehend to absorb himself with a action as heart-on-its-sleeve aboveboard as How To Dress Well.

This is the ability of PC Music. The cipher British characterization is able of arresting about any access and authoritative it a allotment of its own angled pop totality.

How to Dress Well: “Repeat Pleasure” (A.G. Cook Remix) (via SoundCloud)

Many capacity of the label— if it can be alleged a label— are unclear, including aloof how abounding bodies are involved. There’s Daniel Harle, Cook’s accomplice in the duo Dux Content, and Hannah Diamond, a accompanist and imagemaker abaft LOGO Magazine, an online advertisement whose ultra-glossy, hyper-virtual artful dovetails with PC Music’s. The blow of the agenda is a rogue’s arcade of aliases, avatars, red herrings, and alien quantities like GFOTY, easyFun, Princess Bambi, Lipgloss Twins, Kane West, and Thy Slaughter, anniversary axis out variations on the aforementioned set of slick, chirpy, unhinged chart-pop themes.

And afresh there’s SOPHIE, an artisan not anon affiliated with PC Music, but who frequently appears alongside PC Music artists in nightclubs, on mixshows, and, best recently, at Boiler Room. SOPHIE is currently the highest-profile artisan associated with the crew; his two singles on Glasgow’s Numbers label, “Bipp”/”Elle” and “Lemonade”/”Hard”, are thrillingly efficient, if hardly added abstract, summations of the PC Music aesthetic. That artful can be summed up as a grab bag of brownish pings, adaptable zoings, helium-soaked Chipmunk vocals, abstraction stabs, airhorns, hardstyle blast drums, blessed , Eskibeat, K-pop, J-Pop, vocaloid, 8-bit, atramentous MIDI, 808s and Heartbreak, the Windows 95 startup chime, and a advantageous dosage of James Ferraro’s Far Ancillary Basic for acceptable measure.

So far, abundant of the address about SOPHIE and PC Music has concentrated on its self-consciously kawaii qualities, with acceptable reason. As journalists Adam Harper and Clive Martin accept acicular out, PC Music represents the arctic adverse of the darkside tendencies that accept characterized abundant of the underground cyberbanking music of the accomplished half-decade or more. In adverse to the attributes associated with dubstep, abysmal house, and techno—depth, seriousness, historicity—PC Music presents glossy surfaces, a antic spirit, and a capricious near-futurism. Forth the way, PC Music proposes a set of analytical questions about pop culture, accelerationism, hyperrealism, agenda communities, gender, identity, and consumerism. The questions may not accept absolute answers, but that’s partly what’s so alluring about the collective. It’s not didactic; to the contrary, it revels in ambiguities that alike its artists may not absolutely understand.

That said, it’s absolute that PC Music is affluence divisive. Some critics, assertive that there’s a appearance of contemptuousness ceramics the label’s appropriations, acquisition its analysis of pop music dismissive or disingenuous. Affluence of others artlessly acquisition the label’s sped-up abstraction stabs saccharine, and its hiccup-ridden choruses annoying, artless, or worse. Clive Martin’s accomplished Vice commodity accustomed the acerbic acknowledgment elicited by the characterization with a hard-trolling headline, “PC Music: Are They Absolutely the Worst Affair Anytime to Happen to Brawl Music?”(#Savedyouaclick: He doesn’t anticipate so. And neither do I, for that matter.)

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In an annual from about the time he launched the label—one of absolute few he’s given—Cook explained that the label’s name was meant to allude “to how the computer is a absolutely acute tool, not aloof for authoritative cyberbanking music but for authoritative abecedarian music that is additionally potentially absolute slick, area the aberration amid bedchamber and able collapsed assembly can be absolute ambiguous.”

In that aspect, PC Music is a little like the latter-day agnate of Trevor Horn’s ZTT, in which new collapsed technologies were advised to adjust pop music. Alone now, it’s not video that dead the radio brilliant and $20,000 Fairlight samplers that dead the songwriter and his abetment band; it’s P2P and YouTube and anthology computers active absurd copies of Ableton across-the-board the old bouncer a in one abrupt motion. In PC Music’s adaptation of the story, the apple ends not with a bang, but with a “Bipp”. Whatever happens aing is steadily demography appearance on PC Music’s website, one alluringly Photoshopped folio at a time.

Read on for an accession to PC Music’s aloft players.

Beautiful by A.G. Cook

A. G. Cook is PC Music’s architect and accomplished theorist. The 24-year-old has credits on a scattering of the label’s releases—Nu Jack Swung, “Keri Baby” [ft. Hannah Diamond], “Beautiful”, Dux Content’s “Like You” and Lifestyle—and he’s contributed animation to releases by easyFun and Maxo; it’s a safe bet that he’s additionally had a duke in added projects on the label, like easyFun and the Lipgloss Twins.

Before founding the label, he ran Gamsonite, a “pseudo-label” he’s declared as “a ancestor for PC Music.” But for the best part, it seems he accustomed aloft the arena with his eyes absolutely formed.

For anyone who doubts Cook’s genuine, non-ironic acknowledgment for pop music, that TANK Annual annual is annual a read. He cites producers Max Martin and Jam & Lewis as inspirations and singles out Scritti Politti’s Cupid and Psyche 85 as an archetype of “‘extreme’ pop music”—”a absolutely admirable antithesis of abundant hooks, rhythms and sounds.” Praising Cassie, he says, “some of her advance abridge the minimal, synthetic, about automatic abeyant of bartering music, article which can complete applesauce aback it’s done badly, but can additionally become a arrangement of perfect, untouchable artefact aback done in the appropriate way.” To that end, I acquisition it cogent that he says he prefers to compose application “very credible sounds, basically the best arid string, canal and piano sounds my computer has”: alike at its best acquiescently garish, there’s a deadpan affection to his sped-up abstraction anthems. (Perhaps for that acumen he affluence appropriate acclaim for Ukraine’s Eurovision 2013 entry, Zlata Ognevich’s “Gravity”).

Special absorption is due to A. G. Cook’s DJ mixes, in which he stretches out and explores every accessible bend of his aesthetic, from Carly Rae Jepsen homages to befuddled preset disco to Teknian’s “Sweded” adaptation of Hudson Mohawke’s “Cbat”, aural every bit as attenuate and awe-inspiring as you ability expect. (In fact, admitting the agrarian swings in bounce and tone, PC Music about works best alloyed together. Granted, too abundant of the actuality can bound become exhausting, but abounding of their mixes are almighty short: 31 annual for Cook’s “Personal Computer Music” mix, 14 annual for his Creamcake mix, aloof nine annual for GFOTY’s “Secret Mix”, and 10 annual apiece for all the assorted players on the PC Music x DISown mix.)

While PC Music constitutes a abundantly independent universe, SOPHIE has travelled a alongside path, actualization aboriginal on singles for Huntleys & Palmers and afresh Glasgow’s Numbers label. Admitting not technically beneath the PC Music umbrella, his amalgamation with the characterization afresh caked admitting a high-profile accord with A.G. Cook on a action alleged QT. It was briefly accounted that SOPHIE and Cook were, in fact, one and the same, but this photo of the brace on date at SXSW appropriate otherwise.

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SOPHIE: “Bipp” (via SoundCloud)

Listening to SOPHIE’s music, you’re tempted to wonder, how could annihilation so airy be so dense? Every cubic centimeter of his constructions is arranged with detail—helium-huffing voices, tea kettle squeals, Skittle-hued synth leads, plasticized foley effects, beats that bend like weaponized Slinkies—but it’s additionally attempt through with an aching faculty of emptiness, as admitting every complete were absorptive in the alarming that it ability be the aftermost complete you anytime hear. Then, afterwards anniversary heart-in-mouth moment of silence, there’s that abating animation zing! and we’re zapped aback to life, aback to (hyper-)reality. I can’t advice but anticipate of SOPHIE’s chain-reaction beats in affiliation to the amazing explosions of Alfonso Cuaron’s Gravity, and conceivably that’s because blow plays such a key role in his music. The two against armament are, primarily, pop and anti-pop—the addictive and the cacophonous, the able and the garish. Like the J-pop artisan Kyary Pamyu Pamyu, whom SOPHIE interviewed for Dazed magazine, and with whom he’s allegedly collaborating, SOPHIE seems absorbed by the bond of the admirable and the grotesque—or, added precisely, in the point area one becomes the other.

If there’s a complaint to be fabricated about “Hey QT” it’s that it’s a bit too on-the-nose. QT, we’re told, is “a sparkling approaching pop sensation”—not a person, but an action drink, or an “Energy Elixir,” to be precise, “where amoebic and constructed accommodated to activate an adorning club sensation.” And yes, we get it—their music is fizzier than a canteen of Club Mate acicular with Pop Rocks. The brawl music arena is already bedeviled by an absolute energy-drink brand, so it’s accessible to apprehend QT as a affectionate of destructive statement—cuteness as a anatomy of critique. So far, though, that bend fails to deliver, and QT’s deadpan Boiler Allowance achievement didn’t necessarily add to the concept. It began with QT’s adjustable singer/spokesmodel collapsed on a bassinet lounge, idly flipping through a appearance annual while a piped-in voiceover accurate to the virtues of the canned beverage, and it assured with a advisedly bizarre lip-sync of the collapsed track. Throughout both behindhand of the performance, at atomic on camera, the action in the allowance looks as collapsed as a day-old soda.

The Boiler Allowance achievement may be affidavit that advice PC Music’s artful from URL to IRL is harder than it seems, but the song itself is a adept beverage of SOPHIE and Cook’s pipsqueak aesthetic, with a call-and-response angle so simple (“Hey QT! Yeeeeeah?”), it’s like the pop-music agnate of one of Saul Bass’ accumulated logos. If they can aloof add a little added of their archetypal zaniness to the project, they may yet hit aloft the abstruse blueprint for absolute pop domination.

Broken Flowers by Danny L Harle

Danny L Harle’s name doesn’t amount acutely in PC Music’s catalog; besides his assignment alongside Cook in Dux Content, he’s recorded aloof one distinct for the label—the delightful, apricot “Broken Flowers”, a bright booty on abysmal abode that’s not too far off from what Disclosure or Duke Dumont are doing, with the requisite nods to MK and Todd Edwards. It’s one of the best evidently adult things to arise on the label, and not aloof because it sounds somehow added “grown-up,” which it does; abaft the lyrics’ faux naiveté, there’s a adroit little aberration to the beat arrangement that suggests some appalling pop adroitness at work.

Danny L Harle: “Sonatina” (via SoundCloud)

Harle’s access on the characterization may be greater than his credits abandoned would suggest. Cook told TANK Annual that the two musicians abounding academy calm in their aboriginal adolescence and afresh reconnected aback they apparent that they were alive in parallel. “We aggregate so abounding annual that I anticipate we both acquainted added adequate demography a hardly added conceptual approach,” said Cook. “From afresh on music became abundant added of a craft—we weren’t absorbed to any specific cast but we became absolute acquainted of music assembly as a potentially able activity. Advance would about alpha as some affectionate of chat or claiming and afresh we’d booty turns programming everything, so authoritative a cool close clue with endless of layers became a hardly beneath backbreaking exercise. Already I’d fabricated a few advance with Dan that I acquainted were auspiciously high-level I had added action to try that affectionate of actuality out on my own, or administer the aforementioned artful to beheld and web work.”

Perhaps unsurprisingly, Harle has a austere agreeable background: he advised agreement at Goldsmiths, University of London, and in 2012, his alcove opera As Above, So Below was performed at the Wellcome Institute as allotment of the Affliction Project, “a all-around analysis action into the cultural history of pain.” In 2010, his song “Zombie Food” (tagged “#serious party”) already showed an absorption in affected and agreeable codes, with its airy shuffle, anomalous agency blasts, and about brash air; “Rare Birds,” from the aforementioned year, was tagged “#Rn’Skweee,” acknowledging the articulation amid the Swedish and Finnish chiptune aftereffect and whatever we’re action to alarm PC Music’s acquaintance style. Added recently, his “Sonatina” for two bass viols, acquaint aboriginal aftermost month, suggests an affection for Paul Hindemith’s sonatas for cello. And from his Twitter account, we apperceive that he is “not usually into microtones” and that one of his admired songs is Guillaume de Machaut’s 14th-century agreement “Complainte: Tels rit au capital qui au soir pleure (Le Remède de Fortune)”. (Or, as he puts it, ONE OF MY FAVE TUNES EVER. NO CHORD CHANGES. 14th CENTURY. MACHAUT!)

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All that, and he’s a appalling DJ, too. His Rinse FM set with Sophie (begins at 1:03) is like an Ableton filigree laid out over an amplitude of quicksand: it’s a basic minefield of bounce changes, cooing babies, electro-acoustic drones, FM radio idents, white noise, and Eurotrance affect so airy it’ll accomplish your fillings hurt. A masterpiece, in added words.

As a recording artist, Hannah Diamond is accustomed with two PC Music singles, “Pink and Blue” and “Attachment”, as able-bodied as bedfellow vocals on A. G. Cook’s “Keri Baby”. She’s an odd character, clad in blush puffer jackets and styled a little like Sporty Spice about “Wannabe”, but with a articulation that comes afterpiece to that of an amateur in a assembly of Annie, maybe. Her infantilized qualities are able by exaggeratedly naïve lyrics, like these from the sing-songy “Pink and Blue”: “We attending acceptable in blush and blue/ You adulation me, maybe it’s true/ You say babyish how are you/ I’m OK, how about you.” But she’s no one-note character; the icy desolation of “Attachment” brings to apperception Mike Oldfield’s Kanye-sampled “In Aerial Places” (again, as articulate by that Little Orphan Annie understudy), consistent in an afflictive acclimation act amid blank and earnestness.

In accession to her activities in PC Music, Diamond is co-editor and administrator of photography for LOGO Magazine, an online advertisement whose slick, hardly awful editorials bless the alliance of aerial tech and tongue-in-cheek. She’s additionally allotment of the artistic aggregation Diamond/Wright, which was amenable for the art administration of QT’s “Hey QT” cover; the lookbook for London latex-clothing cast (and logo obsessives) Meat; and aroma campaigns for Princess Bambi—the accompanist (or avatar) amenable for the PC Music distinct “Less Adulation Added Sex”, who is about styled like the adherent of a adumbral Russian oligarch.

GFOTY stands for “Girlfriend of the Year”; who knows whether her persona is meant to be some affectionate of appraisal of gender stereotypes, whether it avalanche aback on gender stereotypes, or none of the above? There’s the aforementioned arrangement of articulate processing accident actuality as in SOPHIE’s “Bipp” and “Lemonade”, and the aforementioned arrangement of brittle-yet-rubbery sonics predominate. Pitches about-face promiscuously; drums splinter into fiber-optic shards; choir bend beyond the spectrum like helium balloons actuality unleashed, squealing, into the blubbery of a children’s altogether party. I appetite to alarm this appearance pipsqueak, for the way it takes pop tropes and makes them blippy and baby and, well, squeaky.

In any case, GFOTY is absolutely amenable for some of the best berserk addictive music in the PC Music catalog. Consider this choir from the nine-minute “Secret Mix”: “If your friend’s your lover/ Let your acquaintance be your lover/ ‘Cause if your friend’s your lover/ Afresh your looooove’s/ Undercover”. (Repeat ad nauseam, about literally.)

Talk about high-low vertigo: how about that insistent, acute chirping (“Wh-wh-what’s your name? I l-l-l-like your smile”) over a snatch of cord quartet? And if you appetite punk, there’s the adamant “Don’t Wanna / Let’s Do It”, which is basically a sample of a distinct synth agenda and the byword “I don’t wanna do it” actuality marched up and bottomward a sampling keyboard. It sounds like Eskibeat as performed by the world’s best bad-tempered teenager; it ability be the best annoying affair you accept heard all year, and, like a scab, it is about absurd to stop abiding to it.

Also annual a look: GFOTY’s Instagram page, featuring adorning quotes (“Behind every dolphin there’s a babe with a shadow”; “FUCK WOT THEY FINK”) and the best artistic abusage of ellipses this ancillary of TMZ (“Maybe you accept to acknowledge the black afore you can acknowledge the… light”; “Don’t abhorrence the girl, abhorrence the babe behind… the girl”).

Embedded agreeable is unavailable.

Dux Agreeable is the duo of PC Music accomplished A.G. Cook and Danny L Harle, the artisan accustomed with “Broken Flowers”. It’s difficult to accumulate too abundant added from the duo’s Facebook page, accustomed that all their columnist photos are digitally rendered, Sims-type images (and awfully awful ones at that), and there’s been no new action on the folio aback November 2013, aback PC Music re-released the duo’s anthology Lifestyle with a new video by Daniel Swan. Lifestyle sounds like music for Additional Action nightclubs: it opens with a plangent, pitch-bent synth advance that’s beeline out of ATB’s abstraction nut “9PM (Till I Come)”, and beyond its eight advance it explores vaporized R&B, tracker-scene hardstyle, and a adaptation of Steve Winwood’s “Higher Love” that’s like mainlining Stevia; “City Break”, meanwhile, is a mindboggling admixture of Far Ancillary Virtual-ism, “black MIDI”-inspired programming, and Jan Hammer gabber.

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Dux Content’s archive additionally yields some arresting clues to the pre-history of PC Music. Scroll aback far enough, and you’ll ascertain an anthology arise beneath the alias Dux Consort alleged Disklavier Concert 1, featuring eight compositions for the Yamaha Disklavier—a affectionate of MIDI-programmable piano—by Spencer Noble, Daniel Harle, Alex (A.G.) Cook, and Tim Phillips. It’s all gorgeous, abhorrent stuff, anguish and dissonant, like Conlon Nancarrow arrest Alexander Scriabin with the casual bit of Scott Joplin befuddled in. The awning art is a admirable approximation of the affectionate of sleeves that Factory and Les Disques du Crepuscule acclimated to do. It suggests that admitting PC Music’s aggressively hyper-digital, post-virtualist aesthetics, Cook and Harle may anchorage some abeyant Aerial Modernist leanings as well.

____

“Authenticity” is apparently the aftermost chat that’s anytime action to about-face up in the ambience of PC Music, and that’s apparently a acceptable thing, because duh: actuality is boring. But! It’s annual acquainted that the PC Music artisan with the best archly tongue-in-cheek name additionally happened to accomplish on his own claim alfresco the label’s own DIY ecosystem. Several months afore he put out annihilation on PC Music, Kane West angry up on Tiga’s Turbo characterization remixing Tiga and Audion’s “Let’s Go Dancing”. And he managed that the ancient way: by acceptable a remix contest. I asked Tiga about it, aloof to accomplish abiding it wasn’t some affectionate of publicity stunt. But nope: “Kane West was [the] honest winner,” he wrote back. “His bits was too brainy to ignore.”

Sounds about right. Kane West’s admission absolution for PC Music, the seven-song Western Beats mini-album, doesn’t accept by abounding of the PC Music hallmarks; there’s little that’s self-consciously admirable about it, and while the vocals are appropriately trippy—like the delirious, out-of-key bend of “Goin’ crazy, goin’ crazy, goin’ crazy” from the song of the aforementioned name—they don’t tend to be aggressively pitched up, the way so abounding PC Music vocals are. Accustomed the record’s arch, druggy, stripped-down abode vibes, it would be reasonable to accept it was the assignment of an artisan on a characterization like Cómeme or Body High.

Where West absolutely gets weird, though, is in his addition to the PC Music x DISown Radio free-for-all, in which A.G. Cook, GFOTY, Danny L Harle, Lil Data, Nu New Edition, and West all bandy bottomward for 10 annual apiece. West’s allocation is overlaid with all address of audio flotsam: babble whistles, exaggeratedly baritone ID tags (“K-k-k-kane West”), announcement emphasis (“Best amount in the world!”), phrases ripped from cine previews (“Don’t absence The Magic of the Lost World”). “Hi, my name’s Sarah, and I’m action to sing on the aing one” chirps a woman, aboriginal in the segment, who may or may not be a computer program; there’s article about her delivery that belongs to the Uncanny Valley of vocaloid singers, although her British emphasis additionally sounds too appropriate to be a machine. “I’d like to extend my warmest acknowledgment to Kane West for absolution me arise on this song. Don’t balloon me aback you’re famous, Kane!” What follows isn’t singing, though, but active statements like “Free shipping!” The all-embracing aftereffect is that of a replicant who’s so cheerful, you don’t accept the affection to acquaint her she’s aloof a bark job.

That affectionate of abrupt poignance runs through a lot of PC Music’s work, so it’s not all that hasty that Burial’s “Archangel” turns up in the mix—except it’s not Burial; it’s West’s own awning version, acutely fabricated on a Casiotone with a apart pitch-bend batten and a boom apparatus with a austere case of arrhythmia. (You can apprehend it at about 53:45.) It alone gets added fucked-up aural as it goes, and it about avalanche to pieces at one point, alone to be adored by a Kenny G-like sax melody that’s amusing and tearjerking all at once.

The alone absolute advice we accept about Action Sim is a geotag: “NYC/LDN,” per the artist’s SoundCloud page. In some ways, Action Sim’s productions to date feel anytime so hardly beneath abashed than the majority of PC Music’s output, and added like “normal” brawl music; the 20-minute “All Life” mixtape cruises forth at a adequately accepted 140 BPM and toggles amid whipcracking electro rhythms and lurching grooves that wouldn’t complete absolutely out of abode on a characterization like Hessle or Hemlock. But the pasted-in strips of a cappella vocals are aloof a beard faster than in archetypal bass music—to say annihilation of all those cheesed out abstraction stabs, or the actuality that “Caladhort” foregrounds a angled band from Carly Rae Jepsen’s “Call Me Maybe”.

Life Sim’s “This Life” mixtape, arise aback in June, aloof seven months afterwards its predecessor, is alike better. It touches aloft alliterative Detroit techno, Burial-esque prettiness, shuddering electro, and alveolate string-pad melodies that anamnesis archetypal Autechre or Aphex Twin—but all refracted through PC Music’s abnormally askance worldview. (See: the articulate sample that gets deployed center through, looping “Like, ever” in a West Coast chant into a nonsense sing-along.)

Overload is in abounding aftereffect on the aboriginal distinct from Lipgloss Twins, appropriate bottomward to a abbreviate video articulation featuring the two “Twins” that plays accompanying with the anchored SoundCloud audio and concludes aloof as the song is wrapping up its own introduction. Sonically, this is the Cook/SOPHIE artful pushed to its limits: beats bend like a ping-pong clash in a hurricane, melodies resemble a pachinko parlor with a adulterated billow protector, and the sped-up vocals are little added than a deranged annual of brands and customer jibberish (“Maybelline! Maybellicious / Topman, Topshop / Affected Prada, affected Louis, affected Zara”). Questions abound: area did they acquisition these “Twins”? If they’re speaking in American accents, why are they employing British grammatical quirks like “different to”? Why would a pig eat stationery? And what the hell does “My genes are ripped” mean?

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__Palette by Tielse__

The SoundCloud tags active by the Lyon-based ambassador Tielsie are a appealing acceptable indicator of area his or her accomplished is at: “#ADHD”, “#Joy Juke”, and “#160″—beats per minute, that is. Tielsie’s aboriginal demos, which alike a year ago, appropriate a amazing adroit imagination. There was “Hueboy”, which articulate like footworking on top of a rainbow, and a remix of TWRK’s “Living Room”, which ability accept been a bit of Malian arid dejection spun through some affectionate of atom accelerator. Best notable was a remix of Sophie’s “Bipp” that injected a accomplished new amount of aqueous coercion into the song after absolutely abandoning its animation kicks. Afterwards a able absolution of “Hueboy” and the requisite DISmagazine mixtape featuring a brain-melting arrangement of cute-ified club music (including the Japanese ambassador Pandaboy’s adjustment of the iPhone’s “Marimba” melody), Tielsie aing PC Music two months ago with “Palette”, a helium-voiced adrenaline blitz that harnesses about every cliché in the book (hardstyle kicks, allurement hi-hats, quarter-note claps, supersaw stabs) and plays it all aback at 78 instead of 45.

____easyFun EP by easyFun

Given that easyFun recorded PC Music’s additional absolution and hasn’t been heard from since, it’s reasonable to brainstorm that the action is an alias of one of the characterization insiders—possibly A. G. Cook and/or Daniel Harle. In any case, his/her/their sole absolution so far is brilliant—particularly in its online presentation, in which hyperkinetic slap-bass and DX-synth fugues amalgamate with Easyjet-riffing animation to about-face into article like normcore on steroids: allotment Seinfeld, allotment Squarepusher, allotment Weather Channel b-roll music, and with Shutterstock watermarks amplified into artful tropes in their own right. (The blush scheme, meanwhile, is authentic Air Huarache; accomplish of that what you will.)

There’s no academic articulation amid PC Music and Felicita, a new artisan whose admission EP, Frenemies, will be arise digitally on October 13 on the new Gum label. In fact, Frenemies will alike get a 12-inch release, which at aboriginal seems absolutely adverse to PC Music’s digital-first approach—until you apprehend that it’s actuality apprenticed on chicken vinyl. In columnist photos, it’s styled with a chicken elastic ducky. (Cute!) But Felicita’s Flubber-falling-down-the-stairs complete is absolute abundant in befitting with SOPHIE’s hyperkinetic antics. The multi-tracked vocals complete like they ability accept been recorded by EVE, one of the robots in WALL-E, and it’s not too adamantine to brainstorm the record’s absolute artful actuality aggressive by fast-forwarding through that film’s trash-collecting scenes.

And that doesn’t alike activate to blow aloft the fucked-up iconography of the artist’s website: agreeableness bracelets, pita bread, architecture brushes, a crimping iron, a tennis ball, a seapunk-blue wig, a freaking bang on a adolescent woman’s face. That website turns out to accept been created in accord with Daniel Swan and Mari Santos, and Swan, at least, has additionally collaborated with PC Music’s Dux Agreeable and Thy Slaughter. Whatever’s action on here, there’s absolutely a affiliation of some sort. For my money, Felicita is the best formally adroit of any of these artists, so I’m abnormally analytical to see area Felicita goes next.

DJ Warlord, whoever he/she may be, pushes the PC Music artful to a accomplished new akin of ridiculousness. His “SS14 Embassy Mix” for London acrylic bazaar Meat Clothing consists mainly of “Warmix” edits of pop, R&B, and abstraction songs—by Janet Jackson, Bell Biv DeVoe, ATB—sped up dizzingly fast and abstemious with airhorn blasts, vinyl spinbacks, and “Damn, son” audio tags. A song alleged “Russian Soldiers from Kasatka” that’s accustomed to Burial turns out to be a sped-up atom from the soundtrack to the Metal Gear Solid 2 video game. (He’s got a point; it absolutely does complete article like Burial.) And on his JPEOPLE Annual mix, “the King of New-new” offers a analogously hyperspeed accumulating of babble stabs and boscage breaks, complete with a gunshot- and tea kettle-laced adapt of Oneohtrix Point Never’s “Zebra”.

Whoever Warlord is, his Twitter annual offers few clues. But conceivably that’s the amiss question. As he tweeted aftermost October, “People are consistently like ‘who’ is Warlord? Never ‘why’…” Indeed.

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