This video for "You Got Me (I Got You)," a remake of Scuba's own "You Got Me" track from his Triangulation LP, seems to take the producer's handle to heart as the entire affair is shot from the perspective of a camera submerged in some fresh water until it eventually ends up in a fish tank. Maybe the viewer is supposed to feel like a fish, flowing through some grand river only to end up in an aquarium in someone's apartment, but it is really hard to consider things like this whilst Scuba's amazingly melodic and funky rework is pounding away at the same time. "You Got Me (I Got You)" can be found on Triangulation (Interpretations), out now on Hotflush. Read more »
Last year, we premiered an excellent production by young Pacific Northwest producer Cedaa, who remixed Clicks & Whistles' song from a compilation put together by Party Guy Records. Now, more of the Future Sounds of North America record is being treated to remixes, our favorite of which we're premiering today (listen to all of them here). Martin Kemp (pictured above) of the Blunted Robots clan gives Norrit's "N Gbekinho" a healthy dose of UK flavor with some patently shuffling house rhythms, oversized bass tones, and otherworldly soundscapes. The producer certainly reformats the track to fit his own club-friendly style, but maintains many of Norrit's original samples—namely, the eerie flute melody that slowly bores into your skull throughout the six-minute tune. And make sure to catch more of Martin Kemp's musical magic when visits Boston this coming Monday and NYC's TURRBOTAX® the following Friday.
Yes, it's that time of year again when the winners of categories such as "Best Producer," "Best Remix," and even "Best 120-140 BPM DJ" as voted on by the die-hard internet audience over at Dubstepforum are announced. This year's winners include lots of XLR8R favorites such as current cover artist Ramadanman (pictured above), Night Slugs, Girl Unit, Digital Mystikz, and Oneman, just to name a few. Read more »
Sometime during the spring of 1973 in the Bialowieska Forest of Poland, as the story goes, a sort of social/musical/architectural experiment took place at the behest of a music-obsessed Czechoslovakian millionaire named Jiri Kantor (read more on that here). His plan was to create "a new European sonic community... a multimedia discotheque," which ultimately failed; the Endless House project lasted only six weeks. However, the music from that time lives on, and has just been released as the Endless House compilation (pictured above) by the UK's Dramatic label, which includes this gem from Rasmus Folk. The beauty of "Pavel" lies in its deft straddling of eras. The song's analog synth washes and churning rhythms are torn from the palette of early Krautrock, but the kinds of sub-bass and audio effects that also play a part in Rasmus Folk's production sound like reinvigorated vintage samples à la Demdike Stare. So, whether or not that elaborate backstory is true (we're pretty sure it's not) isn't all that important—the music is still here, and it's damn good.
In a seemingly random bout of collaborative inspiration that took place in Berlin during summer 2009, Boston duo Soul Clap and Polish pair Catz 'n Dogz (pictured above) joined forces to create the supergroup Clapz II Dogz, and will subsequently drop a 12" on the burgeoning Glass Table label. Read more »
Nicolas Jaar’s debut LP has been generating quite a lot of noise (or is it space?) lately. Between his excellent XLR8R podcast that he dropped on us back at the beginning of the month, and his debut LP, Space Is Only Noise (artwork above), being released to much critical acclaim (including our own) earlier this week, the 21-year-old Brown University student seems to be garnering quite a bit of buzz. If you're still not convinced, we've got this slow-moving cut from his LP, in which giant claps, dubbed piano, pitched vocals, and, eventually, screeching saxophone bursts all make an appearance alongside Jaar's trademark rich textures and luscious sonic space. Let's hope it does the trick for anyone still skeptical of the hype. (via Pitchfork)
We’ve been fans of Chicago’s Ghetto Division crew since it turned in an impressive mix in honor of its hometown for our City Guide podcast series back in March of last year. Now the collective (comprised of founders Rob Threezy, Maddjazz, Charlie Glitch, and Rampage, among others) has announced it will be releasing a new LP, Booty Clappin, through its own Ghetto Divison imprint February 25. Read more »
Hyperdub label head and legendary figure of all things forward-thinking in the UK bass music world, Kode9, has a new record with long-time collaborator The Spaceape, entitled Black Sun slated for release in the coming months. Now, Hyperdub has announced the release of “Otherman” b/w “Love Is the Drug,” the first single to come from the forthcoming LP. Read more »
Most of us don't know a whole lot about London/Berlin-based avant-lo-fi-electro-pop duo Hype Williams, and it seems likely to remain that way for sometime; their music is just about everything but a window into the artists' heads, and more like the memory of some of our favorite songs filtered through the stoner sensibilities of two artists who really like being inside. Like on "Businessline" from their forthcoming LP for Hippos in Tanks, One Nation (pictured above), Hype Williams lets a simple hip-hop beat carry a few precious synth melodies that simultaneously sound lifted from the love scene in a late-'70s sci-fi B movie and like two kids just jamming in their basement on a rainy day. The pair's music may not be the most well-planned, intricately orchestrated, or revealing material coming out these days, but it is certainly some of the most evocative and oddly intimate we're hearing lately. That said, we can't figure out if it's because of or despite Hype Williams' inherent lack of identity. For now, we'll let the music speak for itself. (via Altered Zones)
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