Quick Takes: We Are Temporary and Kesha; Seckar; Kedr

Photo Credit: We Are Temporary.
Photo Credit: We Are Temporary.

We Are Temporary Deletes Dr. Luke from Kesha’s ‘Die Young’

Fresh off the release of a new album, and accompanying interview with Vehlinggo, Brooklyn-based producer We Are Temporary released what has become a popular remix of Kesha’s “Die Young.” The new version strips out all the contributions of Dr. Luke, who the singer says sexually assaulted and abused her.

We Are Temporary, AKA Mark Roberts, said in a Facebook post that he had drafted a version of the remix earlier, but decided to redo it and finish it in light of Kesha’s courtroom struggle with Sony and Dr. Luke, who denies Kesha’s allegations.

Check it out. It’s somber and menacing, which is what Roberts intended.

‘Sail’ with Seckar

I found London-based Seckar’s “Sail” in my SubmitHub inbox. It’s a rather chill track in the vein of Tycho or Boards of Canada, combining meandering guitars with colorful, soothing synthesizers, and a driving backbeat. It’s also very good.

Seckar is a relatively new project for English producer Ray Tovey. His project’s SoundCloud page only has one other cut besides “Sail” — the even more serene and opiatic “Too Much.”

But readers might recognize his work in other areas. Under previous names, Tovey has performed with, supported, engineered, and/or remixed artists such as Clark, Plaid (Warp Records), The Haxan Cloak (Tri Angle Records), Nao (Little Tokyo Recordings, Disclosure, Mura Masa), Wild Palms (One Little Indian), and LUH, according to his website.

Kedr Livanskiy Releases ‘January Sun’

Readers of this publication might recall my review of Russian techno producer Kedr Livanskiy’s cold and haunting 2MR debut 12-inch, Sgoraet (Burning Down). 

Now she’s released her first full EP, January Sun, which continues the lo-fi, wintry minimalism that has gotten her attention all over the music-blogosphere. The 8-song release is equal parts melodic, disenchanting, disheartening, and intriguing.

There’s a mysterious quality about it, too. I like to think I’m listening to a fifth-generation tape dub — each new dub representing a need to destroy the previous generation to avoid the message getting into the wrong hands. By the time it’s reached me, the recording is distant and scratchy and everything sounds like it’s seconds away from unraveling.

But there won’t be any tape eaten today. We’ll enjoy our January Sun and embrace the cold uncertainty that comes with it.

 

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