The rundown of artists, scenes, parties and videos breaking forth from the underground this week
1. Lefse Records
Pronounced “Leff-suh”, this imprint is more proof of Sacramento becoming an increasingly frantic hub for far-fetched sonics. Lefse first impressed Radar by sending in an unsolicited email with just the virtually unviewed MySpace address of Blackpudlian one-man wall-of-din The Invisible Elephant in the subject header. And, to be fair, he’s an artist we should feasibly know about first. Their roster stars veer from Texan analog-synth-sabateur Neon Indian to NYC’s Keepaway, an Animal Collective with less chanting circles and better haircuts. Their new bloods include lounge-acid crooners Sunglasses and Colorado’s glo-fi gang Woodsman. Ace stuff.
2. Two Wounded Birds
For evidence of just how far-reaching the current lo-fi bubblegum rock’n’roll revolution is, look no further than Margate. TWB are the band that The Drums’ Jon Pierce refused to appear on the bill without when his band played Radar’s monthly live shindig. They’re also the first hard-copy release on Jacob’s Holiday Records label.
3. Ghetto Gothic
When Brooklyn’s ’lektro-elite decide they want a late-’90s-style high-rolling hip-hop and R&B night, they come up with slick-shows like this monthly soiree at The Gallery Bar. With regular spinners like Brenmar dropping sleek clubbed-to-death remixes of Aaliyah and Wu Tang, revelers include Radar faves MNDR and Blondes.
Konx-om-pax is Glasgow School Of Art student Tom Scholefield. His various mediums are on display across the spread of post-dubstep don Hudson Mohawke’s latest set of releases – from the DMT-induced fever-state hallucinations of his new ‘Joy Fantastic’ video, to the lush fairground ride fantasy-art of his sleeves.
5. Jocke and Elliot
Synth duo Jocke & Elliot have had a couple of tracks floating around online since 2008. But belatedly their first 12-inch is set to arrive in shops next month. The minimal parps of Luke Eargoggle’s unwieldy modular synthesisers and his friend’s 14-year-old son Elliot’s trickling tones on ‘Regnbågen’ is really something to behold.