Rising UK producer Becoming Real (a.k.a. Toby Ridler) has, much to XLR8R's appreciation, put the "house" in witch house. Over the last few months, Ridler has lent UK tour support to witch-house poster children Salem, and provided remixes to folks like Forest Swords. Read more »
Yesterday, gloomy New Orleans duo Belong released the highly anticipated follow-up to its 2006 debut, October Language. Released on Kranky, Common Era finds the band working in more overtly pop territory, experimenting with voice and melody in the foreground rather than burying it in fuzz. That said, "Never Came Close" comes off the new record, and is anything but crystal-clear pop. The ghost of Ian Curtis lurks in the song's dulled drums while a warm fog of processed voice and guitar coalesces into a wonderfully ominous brew.
We introduced you to Glaswegian DJ/producer Koreless back in February, sharing his promising "Up Down Up Down" tune and news of his recent signing with UK label Pictures Music. Well, the fruits of that conjoining are now upon us in the form of the limited-edition "4D" b/w "MTI" 12", the release of which is joined by this free, unreleased track, "Maria." This production exhibits a decidedly chilled-out side to Koreless' growing sound, but still shows the artist's audio sculpting skills in full form. The low-end frequencies envelop your head while the crackling vocal samples, pattering rhythmic sounds, and reverb-drenched piano melodies cut straight through the mix, simultaneously dancing on your eardrums and flirting with your heartstrings.
In memory of Steve Reid, the legendary jazz drummer whose prolific career included working with James Brown, Miles Davis, and Kieran Hebden, among others, before passing away last year, BBC Radio DJ/Brownswood head honcho Gilles Peterson has founded the Steve Reid Foundation. Read more »
In this issue, we talk with dubstep's elder statesmen, Kode9 and The Spaceape, about their new LP, Black Sun, and what's become of dubstep in the last decade. We also chat with dubstep periphery seekers Instra:Mental on their new album, and venture into the sweaty ballroom underground with the likes of DJ MikeQ, Angel X, and Vjuan Allure. Read more »
When we made a quick stopover in Stockholm, Sweden a few weeks back, we got to meet up with producer Peder Mannerfelt (of the Van Rivers and The Subliminal Kid production team). We chatted a bit about his studio with work Blonde Redhead, Fever Ray, and Glasser (which you'll get to check out in an upcoming issue of XLR8R), but he also tipped us to his other side-project, the motorik, Kraut-influenced duo Roll the Dice, with friend Malcolm Pardon. Today they've announced here first that their Live In Gothenburg – August 7, 2010 EP will feature 15-minute versions of two tracks from their self-titled debut last year, recorded, as you've already gathered, live in Gothenburg last year. Read more »
Back in January, we announced that after 20-plus years as a contributing member to the worldwide dance music community, Detroit house legend Rick Wilhite was set to finally release his first artist album, Analog Aquarium (artwork above). Well, today is the day his LP is set to hit the streets, and we've got a little album taster here in the form of "City Bar Dancing (Basement Mix)." With its one dark chord, frighteningly deep bassline, and miniature tribal percussion, the feeling the track evokes isn't too far off from its title. Wilhite is slow to build upon the initial groove, letting the song's elements repeat until they've enveloped the listener in a trance-like state, eventually adding rhythmic vocal loops and some soulful oohs and ahhs along with a short-lived funky synth sample in methodical fashion. At times, it sounds like the song was taken directly out of a DJ set, as Wilhite inserts drops and even runs the entire track through a flanger effect for a bar or two. An intriguing peek into Wilhite's creation and one you can build upon by getting your hands on Analog Aquarium today.
Chicago-based rapper/producer Jeremiah Jae delves deep into some collage-style beatmaking with this cut from his recently released Rappayamatantra EP (artwork above). Kicking off with a menacing scream, the beat rolls along with loose hand percussion and a round, lazy bassline. Completely incomprehensible mumblings loop to the point of creating their own rhythms on top of which Jae throws any number of samples, from bubbling synth sparks and fuzzy guitar to foreign language field recordings and woodwind screechings. It seems most any sound source is fair game on this instrumental track, yet Jae seems to find a fluidity in the arrangement of his collage pieces, adding and taking away elements in such a way that they are only as jarring as the producer intended them to be. Hard to imagine where this one will fit in amongst the EP's eight tracks (at least a few of which surely feature the rapper's raspy vocals), but Jae has never been one to follow a rigid path in his musical outings, and we certainly wouldn't want it to be otherwise. (via Altered Zones)
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