Beat Connection: The Palace Garden

The Palace Garden is a fairly grand album. Is it rock? Is it electronica? Does it even matter?

Beat Connection

The Palace Garden

Label: Moshi Moshi / Tender Age
US Release Date: 2012-08-14
UK Release Date: 2012-08-06

The year 1997 was supposed to be the year that electronica broke. Bands like Prodigy and the Chemical Brothers were poised for the big time, poised to knock serious guitar-based rock bands off their pedestals. And, to borrow a line from a certain electronica act, by the following year, serious rock groups like The Smashing Pumpkins were trading their guitars in for turntables (well, sort of) by coming up with synthesized sounds on their underrated and rather neglected Adore. Aside from a blockbuster album from Moby not long after and the occasional gurgle of talent from the electronica underworld (Daft Punk, LCD Soundsystem), the rise of keyboard-based music en masse never really happened, unless you consider mainstream pop fluff as The Black Eyed Peas or Katy Perry as being sort of mired in the genre. Guitar based rock ‘n’ roll remains popular (at least in the mid-sized city I live in, which boasts at least three mainstream rock radio stations), which is somewhat odd considering that some of the best rock bands (Led Zeppelin, Rush) wound up moving towards keyboards at some point in their careers. In a way, you can look at electronica and rock as either being an “us versus them” phenomena, with both genres at opposite polarities, or you can look at the genre as just being a sub-branch of rock music in and of itself.

If you agree with the latter assessment, this is kinda where Beat Connection comes in.

Essentially, this Seattle-based outfit is categorically electronic. They have cascading, shimmery synth lines that resemble M83 – particularly on “New Criteria”, the opening track of their debut LP The Palace Garden – and, yes, considering that the quartet borrows their band name from an early LCD Soundsystem single, they do produce club-baiting tracks that recalls the work of James Murphy and company. But, at heart, Beat Connection in its latest incarnation could pass as a rock band. And a serious indie-rock band at that. The rock part comes in with vocalist and guitarist Tom Eddy, and a live drummer in the form of Jarred Katz to anchor the bleeps and bloops created by co-founders Jordan Koplowitz and Reed Juenger. And the indie part of the equation enters the fray when you learn that the group has toured with the likes of Real Estate and Toro Y Moi. There are moments on The Palace Garden in which the band brings certain underground rock influences to the fore: “Saola”, with its syncopated drum pattern, sounds a little like Surfer Blood crossed with the sticks-on-sticks sound of Local Natives. “Think Feel”, with its heavenly, echoy female vocals and plucky icy sound, could pass for You Forgot It In People-era Broken Social Scene, if BSS were sleeker and slightly more varnished, if not slightly less experimental. “Further Out” plays in sine waves of sharp keyboards while motoriking to a steady and cornerstone 4/4 beat along with some warm calypso steel drums that nudge the song into Vampire Weekend territory. And “Invisible Cities”, with its layered harmonies and background vocals, sounds a little like what Band of Horses and TV on the Radio would come across as if they were mashed up in a blender set on purée.

That the album and band feel a little like things that have come before can either be a blessing or a liability, but I’m willing to sit in the former camp. Other critics have carped that the songwriting on The Palace Garden is a little lacklustre, particularly in the mid-section of the record. I’m wondering if they and I got the same record: If “Think Feel”, which is the seventh out of 12 tracks, is considered weak and not up there with the band’s best material, well, I just won’t hear that argument. True, some of the best songs do wind up near the front and very back of the album, but there is hardly a mid-album sag in The Palace Garden. Perhaps I’m caught up in the possibilities of a rock band playing as though it were an electronica act for me to have loosened my faculties, but The Palace Garden simply a great, fun record. You’re not going to earn a philosophy degree from listening to it, and some of the lyrics are a little repetitive, but, hey, this is dance music, primarily, so that kind of seems like a minor knock when you grouse about it. If The Palace Garden’s sole purpose is to move your feet, it does a pretty good job of it. If there is, indeed, any real key fault with the record, it's that it shares a flaw with M83’s last album, Hurry Up, We’re Dreaming in that there are a few minute-long interstitial tracks that don’t add very much to the mix, nor do they act as segues into new songs. In fact, you kind of wish they were longer, and, this being a single 41-minute album, these short one-minute tracks don’t do as good a job as hiding in the mix as they do on a double.

Still, The Palace Garden is a fairly grand album. Is it rock? Is it electronica? Does it even matter? Pretty good is pretty good, no matter how you slice it, and, for a debut album (not counting an earlier EP), Beat Connection do a massive job of bringing people together in clubland to get up and move with melodies that engagingly stick – in your head, in your soul, in your shoe. It’s a record that’s in that hazy hinterland of being nearly excellent, but admirably coasts in as a solid, decent effort with some memorable, catchy songs. And that’s ultimately what good rock, or electronica, does. It moves you, somehow. So screw the debate as to whether this is (indie) rock or dance music. Beat Connection do a great job of bringing some punch to the genres they mire themselves in, and, overall, they'll have you partying like it is 1997 all over again.


From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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