Anticipation is high for the forthcoming debut full-length from Toronto quartet Azari & III, a sentiment only boosted by this week's release of the album's first single, "Manic." Apparently, Azari & III isn't too interested in giving its fans a chance to calm down, because the group has now unveiled a brand-new video for the song. Read more »
Homespun electronic duo High Places will soon be releasing a new album, Original Colors, its third full-length. "Year Off" is the first offering from the record, and it finds the LA-based pair glossing up its sound a bit. While High Places could once be relied upon to turn out precious, found-sound-laden electronic pop gems, "Year Off" takes cues from Italo and electro and definitely seems more suited for the dancefloor than the group's previous efforts, although it's worth noting that the lo-fi drum sounds may not be quite ready for the club. Nevertheless, Mary Pearson's airy vocals are alluring as ever and "Year Off" is a pleasant little gem in its own right, even if it marks a new sonic path for the band. We won't know how far that path diverges from High Places' past until Original Colors drops on October 11, but in the meantime, everyone can gander at the artwork and complete tracklist, both of which are posted after the jump. Read more »
Los Angeles native Benedek is a few weeks away from releasing his debut EP, That's My Jam!, and has offered up this slow, G-funkin' take on his own tune to help spread the word. Free of the outlandish Dam-Funk vocals which grace the EP's title track, this version allows for the focus to be on Benedek's impressive synth work, which is marked by space-age melodies and miniature keyboard pops and sizzles (not to mention some sweet—if not synthesized—sax appearances). Where the original finds Dam-Funk and Benedek teaming up for a song about a night in the club, this solo endeavor seems to be the counterpart which fits in at the end of that story, when Benedek's on his way back after a long night of dancing, and it's just him and some ladies and/or homies heading home—in a spaceship. The That's My Jam! EP hits the streets in digital and 7" vinyl formats on August 16.
Amon Tobin's ambitious live audio/visual experience (which revolves around the concepts and music of his recent ISAM album) has been garnering quite the buzz while trotting around Europe, and now the veteran sonic adventurer is set—along with his giant geometrical stage and stunning visuals (a slice of which is pictured above)—to descend on North America starting in Vancouver at the end of September. Read more »
Yes, it has been over a year since Matthew Dear unleashed Black City on the world, and, yes, its twisted, dark dance-pop still stands as one of the Ghostly artist's most accomplished works to date. If you needed a reminder of this fact, then this stunning, colorless video for the album's song "Slowdance," from director Charles Bergquist, should do the trick. Read more »
Preceded by a ten-second dissonant fake-out intro, this track from 19-year-old, Sydney-based up-and-comer Flume is a solid piece of soulful beat work. Acting as the title track for his recently released debut EP (artwork above), "Sleepless" moves at a steady chillwave-ish pace with no shortage of lush chords or skillfully pitched vocal glitches (chops of Anthony For Cleopatra we presume) to float alongside the irresistible bassline and head-nod-worthy drum programming. The young Australian essentially manipulates the same handful of sounds throughout the course of the tune, building up and breaking down the elements to keep things moving—and we're just fine with that. If you've got a beautiful concoction of warm, soulful tones, why mess with it too much? Sounds like Flume agrees.
Hudson Mohawke has been relatively quiet on the production front since the release of his debut full-length, Butter, in late 2009. Although less than two years have passed, the musical landscape for bass music has certainly shifted, with many producers who were similarly weaned on dubstep and hip-hop moving in a more house- and techno-oriented direction. Even those who continue to dabble in hip-hop and R&B tempos seem to have migrated toward the increasingly abstract and experimental sounds being championed by the so-called beat scene and the extended Low End Theory family. So where does that leave Hudson Mohawke, the former turntablist with a penchant for crafting oddball, bass-loaded tunes that nonetheless slap hard in the club? Read more »
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