Journalists or DJs who claim to have discovered acts are kidding themselves. The following two acts are likely to have plied away for a while, although it’s only this week they’ve come to my attention. First Bastardgeist, then Rocketnumbernine. (Followed by a rant at the Guardian)

A mostly one man project, made in Chicago by Joel Midden, Bastardgeist blend “orchestral samples, live playing, loops, processed sound and vocals” to create a bed of stimulating sonics. Laying down his own whispers over polyrhythms, best played on kalimba, Joel’s songs are detailed yet uncluttered with a captivating beauty.  Brainlove Records are due to release a self-titled album of 10 tracks made between 2006-09.

Bastardgeist – Flee To The Hills

Rocketnumbernine have more buzz circulating about (or circling above?) them. Consisting of South London based brothers, Ben and Tom Page, they supported Four Tet for seven-eighths of his UK tour earlier in the year. Gilles Peterson also closed a show with ‘Matthew and Toby’ back in May (Overshadowed by James Blake’s live appearance), having been impressed with the duo’s performance at the Steve Reid Memorial Session. The song below is due out on Four Tet’s Text Records on Sept. 20th. Their debut album, You Reflect Me, is available via Trace Recordings. It’s worth a listen but doesn’t have the punch of recent material.

Rocketnumbernine – Matthew and Toby

Neither act can claim their sound to be entirely original. Each carries a sensibility similar to masters who’ve gone before them, and outstanding contemporary figures (including Four Tet and Panda Bear). They do each offer their own exciting individuality and Rocketnumbernine’s live performances add an additional dimension. Both acts cite Moondog and Sun Ra as influences, echoes of which appear in their experimental and otherworldly sounds.

The rest of this post is directed at the Guardian’s column, New Band of the Day.

It must be tricky continuing what they’ve started. Rifling for a supposedly unknown act to publicise every day. At first it probably seemed a jolly idea but, more than three years on, such talent seeking relies on ongoing digging which the current setup lacks. My main gripe is rather than serving as a brilliantly revelatory source to a mainstream readership, the column is lacklustre, mostly churning out artists the author’s heard buzz about and wants to claim some ownership on their rise.

If presented in a humbler way I wouldn’t grumble, but choosing artists who are financially backed to achieve pop chart success, then backslapping yourself when they do, is lame. Are the frequent self-congratulatory statements an attempt to justify its existence? One potential solution to the column’s flaws is by having a pool of contributors rather than one ego. Elsewhere, Scott Pinglewood shows comparative treasure-finding can be done knowledgeably and without being smug.

To New Band of the Day’s credit, a few interesting acts have appeared before prominent releases (Bibio, Ghost Poet, Hype Williams) but 2010 picks have also included Jay Electronica, Drake and Nicki Minaj. Quit trying to hitch on bandwagons.

The column’s format is inevitably going to be hit and miss, however, if research goes beyond reading press releases the likelihood of learning about impressive “new” acts increases. Notable absences from the list of 852 (at time of press) acts, since Dec 4th 2006, include The xx, Little Dragon, Singing Statues, Le Butcherettes, Hypnotic Brass Ensemble, Kwes, Portico Quartet, Wildbirds and Peacedrums, Golau Glau, American Men, United Vibrations, Sound of Rum, Speakers Corner Quartet, and Juan Son. Let’s wait and see if they get added.

A final specific source of irritation is when the column presents artists working outside guitar-based music. Why does every UK rapper get compared to Dizzee Rascal? Or any beatmaker need to be likened to Dilla? Why choose Bullion, Pariah and Joy Orbison but not Floating Points, any Hyperdub act, Lone, or Kyle Hall? I suggest it’s because the author has no interest in much of the music he’s writing about. And if your heart’s not in it, get out.