The UK's Throwing Snow (pictured above) put together this hard-hitting remix for fellow countryman Greymatter and his "Mind Over Matter" track. After a brief intro, the remix's elements are slowly introduced one at a time; beats, synths, sound effects, and bass all step into view at their own leisure, and eventually work out the best way to lead Greymatter's original number into new territories. It's an understandably typical build into a well-produced dubstep tune, one which is bolstered more so by the sounds chosen by Throwing Snow than the directions they head. The Mind Over Matter Remixes Part 2 EP is out July 12.
Last year, we reported on Canadian electro head Tiga planning to release a series of remix EPs, each focusing on a single track from 2009's Ciao! album. Four 12" records are planned for the series, the third of which is set to be released July 13 via Turbo. Read more »
It's starting to seem that Dâm-Funk releasing a two-disc/five-LP/24-track debut album last year really wasn't that big of a deal for the SoCal funkster. Judging by the extended run of new music Dâm's been doling out at will, dude could probably deliver us a few more Toeachizowns before the Mayan calendar expires. Luckily, each tune added to his repertoire is as consistently rad as those before it, and this one for the Proximal label compilation, Proximity One: A Narrative of a City (out August 10), is no different. "A Day at the Carnival" rocks a particularly high-tempo and upbeat rhythm that are somewhat uncharacteristic for Dâm-Funk, but his standard collection of vintage synth tones and G-funk basslines are as warm and groovy as ever. Dâm-Funk may not be trying out new hats, but at least the one he's got on won't go out of style any time soon. (via Pitchfork)
Lots of bands and producers seem to use the whole 'elusive artist' schtick as a crutch, trying to add an element of mystery to music that's nothing particularly out of the ordinary. Hidden faces, uncertain origins, and poorly defined band line-up aside, ceo makes music that is actually unfamiliar and blurry enough to be called mysterious. "Everything Is Gonna Be Alright," a bonus track not found on the outfit's debut, White Magic, carries a mixed bag of influences—dubstep bass and rhythms, Balearic fuzz and buoyance, tropical instrumentation, simple pop harmonies, and club-inspired vocal sampling—that mesh into a sound as ambiguous as it is inviting. The song is a standard length, but feels like an all-too-brief glimpse into a realm of new musical possibilities.
Globe-trotting MC/DJ/producer/party starter/graf artist Kid Acne (pictured above) teamed with Spain's Slick Dixxx and UK label Lex to hook us all up with a free compilation of music directly connected to South Yorkshire—an idea that permeates Acne's quarterly parties in Sheffield, as well. Read more »
Brooklyn's Black Dice directed this lo-fi psychedelic video for fellow NY-based weird-groove makers !!!. The directing band's warped, cluttered aesthetic shines bright throughout "AM/FM"; chopped-and-screwed VHS footage of !!! performing its new number is ran through hyperactive iMovie effect presets, quick editing, and enough ocular-confusing colors and patterns to get the video banned in Japan. Read more »
We've been reporting bits and pieces about the ongoing celebration Ninja Tune is having for its 20th year as a wonderfully eclectic and forward-thinking label. Ninja's been giving out exclusive MP3s, revisiting old-school DJ mixes, and basically proving why they've remained a relevant entity in electronic music through two decades, and now we've got news of the latest addition to its ever-growing goodie bag. Read more »
It probably goes without saying, but MIA's upcoming quasi-self-titled third album, /\/\ /\ Y /\, is sure to be oddly accessible, completely meta, and predictably off-center; so it's no surprise that those three phrases go a long way toward describing this extended version of "Tekquilla," the latest cut to creep out from the tightly guarded new record. The track features rap star Nicki Minaj for a quick verse, which, despite being totally tacked on at random, proves a solid wingman for Maya's sing-song vocals. And though they were never mentioned as possible production contributors, we wouldn't be entirely shocked if Basement Jaxx were credited with the instrumental, as it's overwrought with innumerable micro-samples, blaring synths and sound effects from the repertoire of the re-emerging rave era, and an all-around air of bombastic noise pollution. Still, this is pop music at its most modern and innovative form. (via FADER)
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