Berlin-based house and techno label Ostgut Ton is nearly half a decade old. In that time, the imprint has dropped releases for the likes of Marcel Dettmann, Ben Klock, Shed, and Scuba, among many others. Those well-regarded releases helped solidify its place in the world of dance music, a position equally bolstered by Ostgut Ton's Berghain/Panorama Bar affiliations. Read more »
This previously unreleased slice of street bass heat from Philly native Starkey premiered the other day on FACT, and we just couldn't resist sharing it with our readers as well. "Gasping for Air in this Void" is introduced with a sample-based orchestral melody that sounds like it was lifted from one of hip-hop's strongest beatsmiths, but is quickly traded out for Starkey's trademarks: dirty bass synths, razor-sharp beat work, and intergalactic noise. The producer's hot new tune switches between a slow-grooving shuffle that could soundtrack a head-nodder's wet dream and a grimy breakdown that Three 6 Mafia ought to consider for its next mixtape—all before Starkey finishes "Void" off with skittering hi-hats and staccato synth melodies riding a booming 808 off into the distance.
DJ Spoko is a South African DJ/producer who came up under the tutelage of Shangaan Electro mastermind Nozinja, and, consequently, mentored DJ Mujava, eventually helping produce the massive "Township Funk" song. Lately, he's been working on a new style of dance music he's calling bacardi house, and this track is one of his latest experiments. "Mzansi," which is a local slang term used to refer to South Africa, is a sharp, bouncing kwaito mover produced with a distinct ear for old-school synth and drum machine sounds. Whether the effect is inadvertent or not, DJ Spoko's track invokes the spirit of another time when simple production techniques paired with a strong groove were all you needed for a good tune. He forgoes the plug-in-obsessed production tactics of most contemporary electronic music, aiming for a stripped down, straightforward, hardware-based house aesthetic, which effectively bolsters the soul of "Mzansi" more than any glossed-over computerized sound ever could. (via Altered Zones)
Austrian music, art, and politics get-together Elevate Festival is all set to go down in the town of Schlossberg this fall. The festival will host not only innovative and established musicians and artists, but politically and socially active speakers and organizations ready to join open panels and deliver thought-provoking lectures on the hot topics of the day (i.e. environment, economics, etc.). Read more »
UK dubstep producers Peverelist and Hyetal (pictured above) are bringing together their unique styles of percussion-heavy, low-end-laden electronic music for a collaborative 12" to be released on Punch Drunk. The two-song release features the joint productions "The Hum" and "rrrr," and will be available at retailers in both vinyl and digital formats on October 18. Read more »
The term has been floating around XLR8R HQ for a good while now, but maybe the forthcoming Future Bass compilation will solidify the genre title across the board. On September 27, the UK's Soul Jazz label will drop a 13-track release that investigates the wide spectrum of electronic music primarily focused on beats and bass. Read more »
This overstimulating remix of the new Steve Starks (pictured above) track, "Git Em," didn't make it onto the official release because the producer was a bit late in getting it to the label, the Tittsworth- and DJ Ayres-run T&A. But that doesn't make this rework from Dutch tunesmith Munchi any less deserving of praise or attention. Most people know him for his experiements with moombahton (like this one here), but this kuduro treatment of Starks' bass-heavy club smasher is an intricately crafted track filled with a number of energetic micro-samples, a huge amount or percussive sounds, and enough hyped-up, atonal synth noise to push a dancefloor over the edge into 'crazy' territory. Truthfully, you could say that for just about any of the five songs that did make it onto the Git Em EP, which includes remixes from Zombies for Money, Dillon Francis, and DJ Ayres. You can preview and purchase the whole thing here, and keep an eye out for Munchi's own T&A EP, which should see the light of day in the next few months.
Either Andreya Triana sold her soul to the gods of electronic music or she's just got awesome connections. Case in point: she follows the brilliant Flying Lotus remix of her "Lost Where I Belong" song (a collaboration most anyone would pine for, at this point) with another re-work produced by one of the hottest outfits in post-dubstep, Mount Kimbie (pictured above). And yes, Kai Campos and Dominic Maker deliver another bit of their trademark sound—complete with the pops, clicks, fuzz, bass, and soul that we've so thoroughly enjoyed on Kimbie's Crooks & Lovers debut. The duo's treatment of "A Town Called Obsolete" works especially well thanks to the natural pairing of the R&B-flavored instrumental with Triana's buttery vocal work; it sounds like something we might hear from Mary J. Blige decades from now.
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