You likely don't need to be reminded of one of dance music's latest trends: Nascent bedroom producers using house rhythms as a skeleton to wrap their swirling synthscapes and borrowed vocal samples around. Teengirl Fantasy did it especially well with last year's memorable "Cheaters," Brooklyn duo Blondes is dropping a few records this year in that vein, and newcomers Grown Folk have shown strong potential by trimming down the haze to exhibit more clear-headed grooves. Mi Ami frontman Daniel Martin-McCormick tries his hand at the style on his latest solo outing as Ital, the "Only For Tonight" 12", and the results are exciting, to be sure. Read more »
Here we have a collaborative bonus track from two young, burgeoning UK producers off a new split single for the freshly minted Left Blank imprint. Visionist (pictured above) may be a familiar name to some of our readers, having a few tracks to his credit popping up lately around various UK bass cred-building hot spots (Boiler Room, Rinse FM, and Oneman sets), and here we find him teaming up with Brighton-based producer Lorca (who has alternately released tunes under the moniker Dodger Man) for a simultaneously smooth and heavy outing. "Slapstickk" pits the usual post-dubstep elements of choice together, utilizing buzzing synths, propulsive percussion, pitched vocal blurbs, and smooth electric piano chords into a mass of slow-brewing bass magic. The single, which features a solo track from each producer, will see its release August 23, with a digital version coming along with this tune and a remix from Valentin Stip.
The gradual expansion of dance music's global stage to include the third world has unarguably been a positive thing. From the challenging rhythms of kwaito to the insistent shake of cumbia, producers working in areas previously incommunicado finally have a voice. Of these places, South Africa has proven an especially fertile ground for new music, with a rich supply of regional styles and talented artists. One such talented individual is Jumping Back Slash, a South African producer whose music resides at the intersection of future garage, kwaito, and straightforward, old-school techno. After dropping a well-received 12" on Pollinate (see the video for a-side "Kwai Sneakers" here), he's now set to drop the third installment in their Nectah series. In anticipation of that release, he's put on offer the infectious and danceable "Want (Your Touch)." Plundering liberally from the cannon of dance music, "Want (Your Touch)" sounds like a Mayday remix of skittering African garage, where chopped tribal vocals meet the stop, start, pause, reverse anti-flow of late-'80s Detroit.
The range of music (and now multimedia art) that is set to be presented at this year's Moogfest in Asheville, North Carolina has expanded to include an even wider list of artists with the announcement that the godfather of ambient music, Brian Eno, will exhibit his stunning 77 Million Paintings visual/audio art project as part of this year's festival. Read more »
Just last month, the young Texan producer LDFD dropped his debut EP, Outtracontrol (artwork above), for Daedelus' Magical Properties imprint. Now the title track from that release has been given a reworking thanks to another young producer from the Southern half of the US, Arizona's DJ Clap, who's been busy putting together a nice catalogue of footwork-leaning tracks for the past few years. If this remix is any indication, DJ Clap makes footwork tracks like The Field used to make techno tracks—melodicly rich, super repetitive, chopped to all hell, and bizarrely catchy. Is Arizona the new home of burgeoning footwork? No, probably not, but DJ Clap has definitely soaked up some distinct influences and turned them into something rather intriguing.
London production duo Monarchy has a new single touching down on August 22 via 100% Records, complete with an array of remixes from the likes of Diskjokke and Azari & III, the latter of which we have for you here. The Canadian house ensemble gets downright dark and dirty on its acid-tinged rework, (thankfully) eschewing just about anything resembling the painfully cheeseball 'niteclub' vibes of the original track.
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