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Hieroglyphic Being In The Studio

As minimal techno plunders the ashes of Chicago's jack track aesthetic, Jamal Moss (a.k.a. Hieroglyphic Being) represents another deviation of the classic house sound. Mentored by Chicago legends Adonis and Steve Poindexter, Moss' tracks recall the sort of wild experimentation that can only be achieved through limited resources. Armed with little more than a couple drum machines and budget mixers, the typical Hieroglyphic Being 12" stands in stark contrast to the clinical style of laptop production. Read more » 

Low End Theory: Dubstep Merchants

It's 11 p.m. on a Saturday in March at DMZ, London's bi-monthly dubstep party at the 400-person 3rd Bass, the basement room of Mass, a converted Brixton church once the site of 10-plus years of legendary jungle events. The queue outside is 600 deep. Digital Mystikz and Loefah, the team behind tonight's event, make the decision to move the party upstairs to the main room. The sound goes from womblike bass-throb downstairs to a towering assault on the main floor. Three hundred guests were expected; more than 1000 go home that night with a new sound ringing in their ears.

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Jimmy Tamborello: Wistful Thinking

It's another typical L.A. day: 90 degrees, scorching, dry heat, a cover of smog laying low over the city like a giant blanket of lint that someone has forgotten to clean out of the dryer. Jimmy Tamborello is sitting inside, like he does most days, having just been interrupted from a not-so-great game of Xbox Tetris by my mid-afternoon phonecall.

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Touch and Go Records: Born Free

"When I got involved doing this stuff I never imagined that, 25 years later, we'd still be doing this," says Corey Rusk, owner of influential Chicago imprint Touch and Go. The label, which celebrates its 25th anniversary in September, was started in late 1980; named after a Michigan music fanzine, its first release was a four-song 7" by Rusk's punk band, The Necros. Read more » 

Solvent's Artist Tips

As Solvent, Toronto producer Jason Amm takes electro-pop to invigorating new levels. In his studio, the sounds of grade-school science class films morph into anthems for the digital age, tracks that look forward while always keeping a keen eye on the past–the '70s and '80s, specifically. Amm's records for labels like Ghostly International and his own Suction Records–which he runs with friend and fellow producer Gregory DeRocher (a.k.a. Lowfish)–helped put synth-pop back on the musical map in the late '90s. Read more » 

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