Canadian DJ/producer Milt Mortez has been wowing his fellow mixmasters—and the club-goers that love them—with this excitable dancefloor smasher since it first appeared on Discobelle's Turned On Vol. 1 compilation earlier this year. Late last month, Finnish party-tune hub Top Billin dropped the cut, alongside three other Mortez productions, on the Pluto EP, which you can stream the entirety of here. "Pluto" is massive and overwhelming on all fronts; the beats thump with a spritely bounce despite their low-end heaviness, the myriad synths swell and squeal in your ears from all directions, and the unexpected vocal drops are often cut short to make room for another jaunt of booming dance rhythms.
Riva Starr has been busy taking over the house music world lately, but not too busy to start his own label, Snatch! Records, and create a new alter ego, Starr Traxx, whose first single will be released later this month. Read more »
Just yesterday, we posted an in-depth feature on Oberlin duo Teengirl Fantasy. Apparently, the guys have hatched some sort of nefarious scheme to take over our website, because today they've unveiled a new video for "Dancing with Slow Motion." Read more »
Punch Drunk Records has been releasing music from Bristol's electronic scene for a while now, and has reached its 20th release in the form of a limited 12" vinyl from the newest signee Ekoplekz (pictured above). Read more »
Not that it would ever come down to it, but if we had to choose between them, we'd take this new Suicide-inspired tune from James Pants over M.I.A.'s Suicide re-appropriating "Born Free" any day. Unlike the neo-diva, eccentric producer Pants doesn't take the seminal duo's actual synth riffs and drum-machine beats for his brand-new "Darlin'" tune, but it's hard to think of him looking further than Suicide's upbeat minimalism for the thick and fuzzy soundscape that envelops the electro-poppy number. Even his hushed, distant croon sounds a bit like Alan Vega on (more) pills, but the ghostly "ohs" of his lady friend in the background and the distorted wash of synth/guitar melodies that accompany them certainly gives "Darlin'" a fresh slant. It's a new, interesting direction for the Stones Throw recording artist, and one we wouldn't mind hearing more of when his next album, Love Kraft, drops in April 2011.
DJ/producer Ellen Allien's eclectic and innovative record label, BPitch Control, which has released illustrious artists like Ben Klock, Apparat, Modeselektor, and Sascha Funke, will turn 12 years old next year, and the label head has a special release planned to commemorate the occasion. Read more »
From DFA veteran Shit Robot's debut long-player, From the Cradle to the Rave, comes the audio behind these psychedelic images. LCD Soundsystem and Juan MacLean crooner Nancy Whang is at the center of the "Take Em Up" single and its accompanying video, a wonderful exhibition of rotoscoping from director Eoghan Kidney and his crack team of animators. Read more »
The London bass outfit adds a singer and delves into the pop world, with mixed results.
One of the most compelling releases of 2009 was Darkstar's "Aidy's Girl is a Computer," a single that turned the post-dubstep soundworld on its head by amplifying the simple, sweet murmurs of robots in love. That wasn't its only hook. The song hummed with just enough sub-bass thunder from below, hit the right targets in the mid-range with melodic synth lines and vocal trickery, and used two gorgeous breaks to inspired, dramatic effect. It is a stunning five minutes of near-perfection that holds up strong over a year later; it's so good, in fact, that it overwhelms and undercuts the other nine tracks on Darkstar's debut LP, North. Read more »
Here we have another selection from Brooklyn-by-way-of-Michigan producer Shigeto's recently released full-length album for Ghostly, Full Circle. Part fractured hip-hop, part free-form jazz, part ambient collage, and part Ableton tomfoolery, "Brown Eyed Girl" is as dense with ideas of electronic music's future as it is lushly adorned with familiar vintage sonics. The super-compressed, shuffling rhythm at the center of Shigeto's production is surrounded by twinkling chimes, airy synth melodies, and a bit of textural white noise for most of its runtime, never really veering far from the main compositional idea. Instead of constantly changing its trajectory, "Girl" flips its beats, samples, and melodic elements to and fro with an orchestrated nonchalance—the equivalent of a ramshackle jazz combo from another universe jammin' just because.
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