Looks like London's Fabric club and mix series is getting back to its roots for a change—roots reggae, that is. For FABRICLIVE 54, DJ, MC, and all-around character David "Ram Jam" Rodigan will be inside the place, handling all selector duties with a choice mix of classic dub, dancehall, and other soundsystem-appropriate reggae. Read more »
Oakland producer David Reep (a.k.a. Elephant & Castle) calls his hazy, warbling beat-centric music "a kaleidoscope of sound." So, bearing that in mind, that would probably make this remix of his Analogue EP cut "The Grey Area," by Chicago's Houses, a Magic Eye of sound. The nearly six-minute rework of Reep's tune is hypnotically repetitious in the most alluring of ways. Miniscule samples become like churning white noise underneath the continuous bass melody, bright rhythms, and swelling ambiance, and if you listen intently enough, you might just hear something hidden amidst the haze.
NYC native M A N I K is the young producer behind the tenth release for West Coast house/techno imprint Culprit. His "Shaolin" track isn't one of the McLovin' You EP's four Chicago-inspired tunes, but still boasts a similarly funky sound. The tunesmith employs a relatively conservative arsenal of sounds on this b-side—effectively proving that just the right bass groove, bare-bones dance beat, and soulful melody can make an excellent piece of dancefloor music, whether it be vintage or simply inspired by the classics. M A N I K's new EP is out now on physical formats, and will be available digitally on October 20.
Back in August, we previewed several selections from the upcoming Roots of Chicha 2 album, the second compilation of the unique psychedelic strain of cumbia that first sprung up in Peru during the late '60s and early '70s. The record is set to hit shelves next week, so the Barbès camp has liberated one of the songs for download, the trippy "Agua" from Manzanita y su Conjunto. At times more like a jam session than a proper song, "Agua" features tribal percussion, wonky guitar solos, some organ flourishes, and some pretty "out there" vocal refrains. Why can't modern cumbieros make music this druggy?
Based on their music, the members of UK duo Kid Gloves don't seem like particularly violent individuals. Nevertheless, just a few weeks after quietly releasing their debut EP, Bare Knuckle, via Fool's Gold, they've unveiled a new podcast of fight-themed tunes called Lovers Not Fighters. Apparently, the Kid Gloves dudes spend their days making tunes for pop starlets like VV Brown, Ladyhawke, and Little Boots, but we honestly don't care too much about that. Read more »
Whoever supposed that technology can do nothing for street art must not have an iPhone yet. Released today, Kreuzberg is a short film and photo essay created by San Francisco-based artist, film director, curator, The Sads singer/guitarist, and integral part the Beautiful Losers exhibit/book/film Aaron Rose, and made entirely on an iPhone 4. Read more »
One of London's premiere post-dubstep outfits Mount Kimbie just announced it will release a follow-up to its widely acclaimed debut album, Crooks and Lovers. The Blind Night Errand EP is comprised of four songs from the forward-thinking production duo, including the title track and "Before I Move Off," which are taken from Mount Kimbie's full-length record, a new mix of Maybes cut "William," and a live version of the "Maybes" tune itself, from a performance recorded at Berlin's Berghain club. Read more »
2010 has been one of those years where the press likes to revive the notion that bands have made electronic music and dancing cool again... as though electronic music and dancing ever stopped being cool on some grand scale. We're just guessing here, but it's a safe bet that Logan Takahashi and Nick Weiss of Oberlin duo Teengirl Fantasy were never confused about these matters. Read more »
NY-based shoegaze trio Kordan's (pictured above) "Mirror" is a driving dreamscape of guitar fuzz, plinking synths, and hushed vocal delivery. LA-based producer Take's "Mirror" is an equally heavenly production, albeit one driven by the soul of dark synth-funk and Southern California's ever-changing beatscape. The differences between the two versions of the East Coast band's cut—off its debut album, The Longing—are obvious, and yet Take manages to convey the same pensively resilient ethos of the original with a wholly different sound palette.
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