Jamie Woon's Burial-graced "Night Air" tune is certainly threatening to climb to the top of a lot of folk's year-end charts, but we might even be more enamored with the crop of remixes it has given way to. The version by percussion-loving bass-case Ramadanman first caught our ears, and now comes this stellar treatment from newcomer Becoming Real (pictured above). While the young tunesmith can be found working in the realms of post-dubstep, grime, and deconstructed juke, to name a few, his remix of "Night Air" is a production more inspired by bubbling future-house and reliant on delicate melodic elements—an atypical audio palette for Becoming Real. Certainly, the expertly crafted source material is responsible for some of the song's lighter elements, but still, the remixer makes the wise choice to work within that vibe instead of forcing it to fit his past repertoire.
Another patron of the fine art of bass, Bristol's October, will be taking part in the forthcoming takeover of Fabric's Room Three next Friday. Along with others from the Apple Pips label, including Appleblim and Komonazmuk, October will deliver tasteful selections of beats and bass through the illustrious club's top-of-the-line soundsystem. To pique our interest in the impending jump-off, the DJ/producer sent over a brand-new mix he's crafted for the auspicious occasion, which features lively and brooding tunes from the likes of Mr. Fingers, Black Jazz Consortium, Conforce, and A Number of Names. Read more »
Well, it's good to know that at least one member of the techno world has an excellent sense of humor. Recently, DJ/producer Seth Troxler talked with French music hub The Drone, joking continuously about the seriousness of the techno scene, people's reinvigorated interest in Detroit, and the magical properties of Gold Bond, among other things. Read more »
This coming Thursday at San Francisco's Public Works club, two lovers of hyperactive dance tunes, DJ Sega and DJ Rashad (pictured above), will overtake the venue's brand-new soundsystem with a smash of bass, beats, and re-appropriated vocal samples. Preceding that hotly tipped performance comes this collaborative track from DJ Rashad & DJ Earl, "2 Bottles of Goose." The Chicago-based footworkers hook up a typically solid production, matching syncopated hi-hats and claps with stuttering kick patterns, mind-numbing low-end, and a fresh wash of sinister synth melodies every so often. Rashad and Earl aren't necessarily treading uncharted territory on "2 Bottles," at least not within their own realms of Chicago-born dance music (represented well on XLR8R by an excellent podcast and in-depth feature), but suffice it to say, the track is another reminder why the juke/footwork scene remains interesting and innovative in the general scheme of club-ready sonics.
London producer Lil Silva may be young, but he's already made a mark on the UK music scene. He's been championed by Marcus Nasty, his Night Skanker EP on Night Slugs added to the label's already impressive talent roster, and the guy just keeps pushing forward. His production combines a high-energy take on grime and UK funky with a knowledge of American house that results in some seriously potent tunes. Read more »
Listening to the career trajectory of Justin K. Broadrick gives one the feeling that he has mellowed significantly with age—how else could the man who helped bring Godflesh and Techno Animal to the world be creating trip-hop-infused ambient soundscapes? While the sonic palette of Pale Sketcher may be completely divorced from the dark, industrial metal of his former projects, Broadrick's precision and technical expertise still shine through on this slab of 'demixed' tracks from his Jesu project's last album.
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A good while after Brooklyn-based producer Travis Stewart (a.k.a. Machinedrum) released his Want to 1 2? album, a cut from that record, "Let It," was treated to its own small release—complete with an instrumental, acapella, and remixes from the likes of Lazer Sword and The Glitch Mob's edIT. Though not on the Let It EP (out now on Innovative Leisure), this exclusive version of Machinedrum's track—remixed by the artist himself—is a perfect example of the sub-busting beat work and glimmering synth sounds found on that record. Stewart reformats his glitched-out original into another kind of bouncing club tune: a sleeker, deeper, and darker track better fit for a late-night comedown than peak-hour revelry. It's that kind of versatility that "Let It" offers which makes the song so ripe for multiple versions, even from the original producer.
When it comes to electronic music producers whose live show is as memorable as their studio productions, Trentemøller is a top contender. Having enlisted eccentric fashion designer (and Trentemøller costume maker) Henrik Vibskov as his drummer, an eery Theremin player, and a fully costumed dance troupe, Trentemøller's band is as pleasing to watch as it is talented. Below is the official music video to "Silver Surfer, Ghost Rider Go!!!" from Trentemøller's latest album, Into the Great Wide Yonder. Read more »
The music of Brooklyn-based trio Selebrities has as much future-funk growl as someone like Space Dimension Controller and yet plainly lurking in the background is are the hollow guitars of Joy Division and New Order. Out later this month is the follow-up to Selebrities' debut EP, Ladies Man Effect (a conceit as much as it is a title), a 7" titled "We've Been Foolish" that features the b-side we have here, "When I Look At You." Singer Maria Usbeck sounds like she's whispering from an '80s-era downtown New York alley while the Grandmaster Flash classic "The Message" is blowing in from the Bronx up north.
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