Album Title: It’s Easier To Be Somebody Else
Featured Tracks: “A Song About California”
Record Label: Unsigned
Website: www.myspace.com/heyocean
Bio: Often described as one of Canada’s best up-and-coming acts, Hey Ocean is a young band with an extraordinary talent for blending various musical styles into a brand of infectious pop that is uniquely their own.
Together, Ashleigh Ball, David Beckingham and David Vertesi have created a musical repertoire that cannot be ignored – be it on radio, television or your neighbor’s iPod, Hey Ocean will soon be everywhere.
G.L.O.V.E.S. is the side project of Yama Indra, of the formerly Melbourne, Australia based band, Damn Arms. G.L.O.V.E.S.’ debut 12″ “Pyx” was released in August 2009 under Bang Gang 12 Inches. G.L.O.V.E.S. has also remixed the likes of Cut Copy, Sneaky Sound System and The Deathset and is currently on tour in Australia and is scheduled to hit Europe and Asia by January 2010. A release of new G.L.O.V.E.S. material should be out by the early 2010, so make sure you check back for more updates soon!
James Ford and Jas Shaw. Two men. Three letters. SMD. Electronic pioneers. DJs. Producers. They’ve been tearing up dance-floors around the world for the past few years, but how did their story begin, and where will it end…? Back in the late ‘90s, James and Jas were studying folklore and physics respectively at Manchester University, while crafting strange electronic music in the spare room of their shared house. Although he eventually dropped out of his course, Jas’s grounding in quantum physics was to come in useful later: the drum pattern on SMD’s early white label Tits & Acid was based on matrix mechanics devised by Werner Heisenberg. But before Simian Mobile Disco there was Simian, a four-piece band Jas and James formed at Manchester with singer-songwriter Simon Lord and bass-player Alex Macnaghten. Like contemporaries such as Broadcast and the Beta Band, Simian sought to combine traditional songwriting with electronic sounds, with one key difference – their name did not contain the letter ‘B’. Soon the duo started knocking out their own tunes, releasing limited edition early bangers such as The Count, Fake Bake, and Clam Digger on friend’s labels like I’m Cliché and Kitsune, Catnip and Wax Fuckface. One early tune – Epilectrics – infamously had to be withdrawn from record stores when it was found to induce fits in dogs and Tweenagers alike. So what’s next for Simian Mobile Disco? 2009 will see the release of their hotly anticipated second album, Temporary Pleasure. If Attack Decay Sustain Release was a record for the dance floor, their sophomore effort is aimed squarely at the boudoir. “This one’s for all the ladeez out there”, says Jas. “And for all the gentlemen who wish to get with those superfine ladeez”, adds James. Then the boys will head back on the road, bringing their unique blend of hip-house influenced crunkadeleic poonstep to a venue near you. Be afraid. Be very afraid…
blissful march of supporting members, which include Argentinean pop star Erica Garcia and members of Foreign Born, into an impassioned collective fervor. The result is not just a nod to the lush variation of global music, but a unique foray into a new kind of reinterpreted American pop music. Fool’s Gold has shared the stage with a variety of artists ranging from Cat Power, Fugiya & Miyagi to The Senegalese Kora Master Youssoupha Sidibe. They presently have a limited edition 7” out on Black Iris and an upcoming EP out On IAMSOUND in September of 2009.
Since the turn of the 21st century, DFA club music maestro Juan MacLean has been laying groundwork. First, there were killer singles, from “By The Time I Get to Venus” in 2002, to last year’s international mega hit & critical year-end favorite “Happy House” as well as the “The Simple Life”. There was a debut full-length (Less Than Human, 2005); remixes for colleagues like Air, Chicken Lips, Daft Punk, David Gahan, Matthew Dear; international tours with Cut Copy and Shocking Pinks; and DJ gigs from Telluride to Tel Aviv. Now comes the next stage of the operation, The Future Will Come. While the second full-length from The Juan MacLean may sound effortless in its execution, don’t be deceived. This record was made in accordance with a very careful plan. “Before going into production of the album, before I wrote anything, I had aesthetic and conceptual guidelines in mind,” admits MacLean. “I stuck to those, and they panned out.” MacLean makes no apologies for this creative choice. “In my career as The Juan MacLean, my guiding principle was to start out more dance-y and instrumental, and someday bow out making flat-out, three-and-a-half minute pop songs.” Right now, he estimates this creative arc is at its midpoint. The perfect time to craft a set of tracks to rival “Don’t You Want Me,” then. Watch the effect the opening bars of “Happy House” have on a packed night club; the exuberance it triggers in listeners easily matches the giddy heights of that time-tested synth-pop classic. 
naturally 80’s tinged but centered around production and sonic character of the now and future. In august of 2008 they uploaded these songs onto Myspace, and instantly began receiving an overwhelmingly great response from around the world, from both critical tastemakers and youthful pop lovers alike. In the months that have followed, Electric Youth’s “Replay” has become a favorite on popular music blogs worldwide, receiving remixes from acclaimed remix producers in 9 different countries (from France and the UK to Japan and Thailand), they’ve toured Europe and are now working on their debut album, scheduled for release in 2010. 
meshing them into a more cohesive whole. However the center of the record is still great songs, with undeniable melodies and inventive lyrics leading the way. From the electro-thrash of “Fixin’ to Thrill” to the wired country stomp of “Gone Too Far” to the beauty of “Pick Up The Phone” and “Easy,” it’s the songs and the voice of Martina Sorbara that tie it all together and make it uniquely Dragonette. Recently tipped by everyone from Kanye to Gaultier, the band looks set for a major breakthrough. here “Pick Up The Phone” gets a dreamy mix from Daisy. Enjoy!
agreed it felt perfect. Other times, they would play until a song emerged from hours of experimentation. In addition to their music, Annie, Heather and Erika are widely recognized for their inimitable sense of style and involvement in the fashion world. The band has appeared in features for periodicals such as Vogue and The New York Times Magazine, and has worked with fashion icons including Kate Spade, agnès b. and Isaac Mizrahi. Au Revoir Simone harnesses simple musical pleasures in order to craft an enchanting 3D world of texture, narrative and sound. Like the dialogue in Pee-wee’s Big Adventure that inspired the group’s name, Au Revoir Simone’s music is the heartfelt result of the three girls following their dreams.
the album with a shamanistic groove anchored by a shaker and a rolling, one-note guitar line, steadily building as Bechtolt and Evans chant one of the album’s many Delphic mantras: “Will we go to heaven or will we go to hell? It’s my understanding that neither are real.” The stuttering high-hats of “I’m In Love With A Ripper” make for a weird, yet inescapably potent club anthem, while the subversive “Don’t Fight The Darkness” will either shed some light onto the mystical themes of the album or cast them further into shadow. See Mystery Lights is idiosyncratic and heavily layered, exploring themes from the existential, to the spiritual, to the hedonistic, all through the distorting lens of pop. The true beauty, however, is that one can choose to dive down YACHT’s rabbit hole and search for answers — or just as easily ignore their cryptic motifs and enjoy See Mystery Lights for the adventurous and innovative avant-pop album that it is.
