For its 50th release, Seattle's bass-pushing Car Crash Set imprint is releasing four EPs in tandem by four different artists that call the Pacific Northwest home. The No Northwest series, which will also be compiled into 12-track LP (pictured above), all drops tomorrow, and includes tunes from Ill Cosby, qp, 214, and, featured here, Cedaa. "Palomino" is just one of the four tracks featured on the young tunesmith's EP, and it's a fresh experiment in the realm of highly melodic, juke-flavored bass music. Cedaa spices his jam up a bit more with handcrafted sound effects that bring to mind a myriad activities—like splashing through puddles, playing Super Mario Bros., and racing in spaceships. We're not sure what all of that has to do with palominos, but it certainly has plenty in common with forward-thinking dance music.
Every since London's Local Action imprint dropped T. Williams' "Heartbeat" single late last year, we've had a hard time not listening to it repeatedly, particularly the ace Mosca remix. (In case you missed it, we posted a stream of the entire 12" on the day of its release.) Apparently, we weren't alone in our love for the record, as veteran UK producer Paul Woolford recently hit up Local Action out of the blue asking for the opportunity to take his own pass at the track. Read more »
The good people at Scion A/V have tapped the tastemakers from the Trouble & Bass imprint to curate a new EP featuring a handful of NY-based producers, including enigmatic bass maestro Kingdom (pictured above). Read more »
It’s easy to think of dubstep as its own fully evolved form, as though the off-kilter child of drum & bass and 2-step garage was born in one epic bass drop, written in Platonic form as an unchanging genre forever. But like any well-defined and exciting sub-genre, dubstep now exists in many forms apart from standard bass wobble orthodoxy, be it super-producer’s album tracks for artists as mainstream as Rihanna or newer, more experimental sounds that simply bare its traces. Count Bristol resident David Corney (a.k.a. Hyetal) among that last group Read more »
Berlin's Sebo K isn't known for having the longest-reading discography—hell, the producer hasn't had a proper solo release since his "Far Out" single appeared back in 2007. But his philosophy seems to be one of "quality over quantity," and it's served him well as a respected DJ/producer in the tech-house world for years. Read more »
There will surely be a day when the current generation of beat makers will sit on their high horse, relishing in the memory of the painstaking hours spent writing the automation for filter sweeps, tweaking delay times, and, in the case of "Physics," manipulating the flanger effect parameters with a keyboard and mouse instead of just having the computer simply read your mind or whatever we'll be able to do in 40 or 50 years time. But for now, making borderline-ADD, detail-oriented electronic music takes time, time most likely spent sitting alone staring at your computer. That's where we find Denver-based producer Iuengliss, who appears to have undergone quite the effort to craft his brand of constantly moving electro beats for a new LP entitled Blank Matter (artwork above). "Physics" is just one example, with its triumphant chord progression and glistening melodies being constantly thrown through some sort of sonic manipulator every few bars while simultaneously being decorated with sporadic auditory glimpses that appear as quickly as they return into the ether. Furthermore, Iuengliss has even gone so far as to create an audio/visual microsite where you can stream and download the entire album, and check out a video for every single song that appears on Blank Matter. You can check out the microsite here after giving "Physics" a spin below.
Sometimes, making blunted beats out of esoteric found audio and doing warped Sade covers with your good buddy just isn't enough. Sometimes, you've got to walk that road alone, too. Such is the case for Inga Copeland, one half of the nebulous, genre-defying Hype Williams outfit, who recently shared this solo production she calls "Trample." We'd be lying if we didn't say this reminds us a whole hell of a lot of Copeland's usual musical outlet, but there is definitely something fresh here, even if we can't put our finger on it. Maybe it's the unusually strong vocal presence, maybe it's the relatively straightforward nature of the song, or maybe it's the occasional use of—gasp!—stereo channels that sets it apart. As is best with Hype Williams' music, we'll try not to dissect it too much. Copeland and Co.'s musical enigmas are best digested at face value. (via Altered Zones)
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