Brixton-based producer PhOtOmachine got his start working with garage legend MJ Cole, but his Technicolour EP, which just came out today, demonstrates a more profound love of house music. The title track is armed with a pulsing 4/4, bleeping synths, a snappy vocal sample, and a predilection for vintage 808 samples. Oddly enough, this remix from fellow Brit Throwing Snow is a lot more in line with the country's garage lineage, as it swaps in a skittering, off-kilter drum pattern and runs the vocal snippet through layer after layer of ghostly filters. It's less suitable for the dancefloor than the original—those looking for maximum floor-filling effectiveness should check out the Optimum remix—but it's a warm, gentle listen that's nonetheless quite enjoyable.
After the midwestern creeps and former XLR8R cover stars of Salem shocked and awed the mass of music fans worldwide with their monolithic King Night LP, they're now set to take that show on the road with a tour of North America in the latter half of March. Read more »
Both reppin' hard here for the Bay Area, SF's massive Still Flyin' ensemble—who, incidentally, win the long-and-funny website address game—meets Oakland's Elephant & Castle on this remix of the former's "Bull Riff" tune. The East Bay beatmaker flips the band's busied instrumentation and vocal choruses into almost unrecognizable sounds for his tricked-out remix, an equally eclectic version of the track. Bulbous grooves, floating guitar plucks, warbling horn melodies, classic drum breaks, disembodied voices, and otherworldly frequencies comprise the bulk of "Bull Riff (Elephant & Castle Remix)," and make the track the excellent beat-centric alternative to the indie-pop original.
Well, folks, if live performances, music videos, and Feist covers weren't enough to hold you over until February 8, you can now indulge your curiosities of what 2011's first truly anticipated LP might sound like, and listen to James Blake's self-titled debut album. Read more »
Our resident stylist Andrew Porter waxes casual on men's and women's must-haves.
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It was just last month that we gave word of the forthcoming EP from the exciting young producer making jams under the name Canblaster, and now we can share with you the first track to leak from the tunesmith's Master of Complications EP. After a few spins of the fiery "Clockworks," one specific word comes to mind: big. From the get-go, Canblaster unleashes a massive dance beat, which he quickly pairs with bubbling sonics and, whaddaya know, the tick-tick-ticking sounds of a clock. But it's after the first drop that "Clockworks" really takes off. The Frenchman alternates between a stuttered rhythm and a smooth house groove adorned with crisp percussive noises—switching between those hyped-up and classic vibes for most of his frenetic song. That mix of refreshing, club-ready sounds is further proof of the strengths in Canblaster's schizophrenic production style, and speaks even more to why we love his work the way we do. (via RCRD LBL)
The masked man behind San Antonio's Mexicans With Guns, a certain Ernest Gonzales, has just announced that his forthcoming debut full-length is scheduled to be released on May 10 via the Innovative Leisure and Friends of Friends labels. The LP is called Ceremony and features 14 tracks of the producer's brand of Latin-inspired, bass-heavy beat music, along with guest appearances from the likes of Freddie Gibbs, Helado Negro, Zackey Force Funk, and Nocando, among others. Read more »
While the original version of "Fireworks" by Spanish pop quintet Polock (pictured above) reminded us a bit of the restless and carefree hooks crafted by the likes of, say, Phoenix, this remix from Eim Ick sounds a bit more similar to what we'd expect from the band's native land, like, say, Delorean. The Danish producer turned the song into a poignant, tropical-tinged dance jam, albeit one void of vocal hooks, guitars, or any other such indie-pop sounds. Instead, Eim Ick relied on straightforward basslines and simple drum patterns to drive his track, and around that core, the producer lets twinkling audio fragments waft about in the atmosphere—giving "Fireworks" a far more panoramic view than it originally had.
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