As the end of 2011 creeps closer with each passing day, it seems that producers and labels are all scrambling to put out one last single before the calendar flips to 2012. Add Bristol's Julio Bashmore to the list of artists getting into the year-end action, as he'll be releasing a new EP, Riff Wrath (artwork above), on December 19. Read more »
Next week, Kingdom will be releasing the Dreama EP via the still-potent Night Slugs label. The four-track offering is Kingdom's first Night Slugs release since last year's That Mystic EP, so anticipation is running high. In a effort to both quench the collective thirst for his new tunes and simultaneously ramp up excitement for the official release date, the LA-based producer and Fade to Mind boss has let loose a stream of opening cut "Let You No." Read more »
The recent Red Bull Music Academy World Tour included all sorts of amazing events around the globe, but perhaps none was as celebrated (or exciting) as the stop in London. The latest installment of the ongoing video series documenting the tour includes behind-the-scenes footage of the RBMA takeover of the iconic London Eye. Read more »
On his first full-length album, Runner (artwork above), Denver's Muta (a.k.a. Cliff Harris) draws inspiration from the '70s science-fiction flick Logan's Run, a tale of a young man who flees his dystopian home to avoid his scheduled termination. Now, we know Logan's Run is a cult classic, but let's be real for a moment. The music from the film is a distractingly trite melting pot of cliched futuristic noises and rudimentary synth sounds which, in reality, matches up well with the movie's stilted acting and goofy special effects. Thankfully, since the film's release in 1976, electronic-music production has come of age, and Muta uses various newfangled technologies to craft a nine-song album with a decidedly 21st-century aesthetic. "Lock Jaw" is a lurching, synthesizer-laden tune with a hip-hop feel that recalls the music of artists like Lazer Sword, but also uniquely employs sundry sci-fi sampling, including noises that easily could have been taken from conversing Star Wars droids.
Over the past few months, XLR8R has been curating a special set of charts for Beatport. The latest edition comes from youthful French beatmaker Canblaster, who just completed a term at this year's Red Bull Music Academy in Madrid. More than a year has passed since we tagged him as a Bubblin' artist, and his hyperactive, genre-melding sounds continue to make waves while he pulls from across the electronic-music spectrum for inspiration. Given his schizophrenic ways, it comes as little surprise that his Beatport chart offers a variety of sounds, including grime, techno, bass music, and, of course, some tunes from his Club Cheval affiliates. Read more »
Certainly one of 2011's busiest house DJ/producers, Dallas, TX native Maceo Plex is primed to follow up a handful of singles, EPs, and one full-length for Crosstown Rebels with yet another EP, but this time for his own label, the brand-new Ellum Audio. The name for Plex's imprint is inspired by the art district in his hometown, which hosted a plethora of massive warehouse raves throughout the '90s. Since Ellum Audio was founded in that vein, we asked the artist to let us in on some of his favorites from that era. We think you'll like what he suggested. Read more »
On their new album Mr. Machine, Daniel Brandt, Jan Brauer, and Paul Frick defy dance music conventions by eschewing computers, 808s, and sampling in favor of the kind of live instrumentation you might find in a mini-orchestra. The jazzy compositions created by violin, cello, piano, tuba, harp, various percussion, and warm synth bass experiment freely with dissonance and complex rhythms and would probably feel more at home on a playlist including Medeski, Martin, and Wood than pumping out of a subwoofer at a club. That being said, it appears that Soul Clap (pictured above), like Brandt, Brauer, and Frick, understand that the differences between jazz, classical, and house music are more subtle than one might expect. On this remix of "Pretend," the party-loving Boston duo keeps the haunting feel of the original by rearranging its screeching violins, rolling piano half-steps, and the melancholy vocals provided by Ninja Tune artist Emika, but also lets the song's latent dance grooves shine through by adding extra emphasis to the marimba loop, adding some four-on-the-floor, and thickening up the cello and Moog bass.
All of the sudden, Dubbel Dutch is everywhere. Sure, the Austin-based producer's name has been bandied about for a couple of years as one of the leading US producers turning out what's now being referred to as bass music, but, until recently, there weren't many official Dubbel Dutch releases to be found. Nevertheless, anyone who follows the blogosphere could easily see that the man is an incredibly prolific producer; his tunes and remixes have been littering various DJs' sets for awhile, so it was just a matter of time until the floodgates opened. Earlier this year, he dropped a double white-label 12" on Dutty Artz, which was followed by the stellar "B Leave" single on UTTU. Now, he's offering up the Hymn EP, a four-track effort and his first release for Dre Skull's Mixpak label, which recently added Dubbel Dutch to its official artist roster. Read more »
We gave the original version of this tune by German trio Saroos (composed of members of Lali Puna and The Notwist) a "First Listen" a while back, and posted a more dance-oriented refix by producer/remixer Populous earlier this year. Now, we're back with a third permutation of the slow and serene track, this time with a remix that's sparser and even more laid back than the original. This glitchy edit comes courtesy of veteran electronic musician and composer Opiate (a.k.a Thomas Knak, pictured above), who strips away the lush, indie-rock feel of the original and replaces it with a dreamy and textured tone.
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