Parisian avant-dance label Tigersushi has just announced the release of "House of Ill Fame," the debut 12" from their latest signing, Crackboy. Maintaining a similar sense of anonymity and mystery as the last release on Tigersushi, a debut from Yes Wizard, Crackboy—that's right, he doesn't even have a MySpace to link to—nevertheless has provided two tracks that slot right into the Tigersushi concept. Read more »
Not much needs to be said in the way of introduction for Anthony "Shake" Shakir. The Detroit techno legend has been receiving some well-deserved time in the limelight largely due to the release of last year's Frictionalism retrospective. Read more »
The fledgling somethinksounds imprint is already on a bit of a roll this year, unveiling choice records from talented newcomers like London's Tommy Tempa and Berlin-based producer Lucky Paul. The latter of those two has yet to drop his EP, a seven-track affair called The Slow Ground that boasts four original tunes and three excellent remixes on the flip from label mate Eliphino, G$ vs. Gold (the brand-new collaborative outfit made up of Wolf + Lamb's Gadiz Mizrahi and Eli Gold of Soul Clap, who mark this remix as their world debut), and featured here, bubblin' UK tunesmith Gang Colours. For his version of "Thought We Were Alone," the young English artist pitches down its soulful vocal samples, tightens up its ramshackle rhythms, and smooths out its many fractured synth tones into a sleek wash of melody—making for another fine example of Gang Colours' exciting brand of bass music. The effervescent production seems to whiz past your ears in no time, which is perfect for diving into the rest of the jams that Lucky Paul's EP will offer when it's released on June 13.
The musically expansive Washington, DC-based duo Benoit & Sergio have apparently been hard at work in the past months. With anthems on Ghostly International, DFA, and Visionquest already under their belt, it's not too surprising that they would have more up their collective sleeves. Read more »
Far, far away from our XLR8R HQ here on the West Coast, Romanian producer Montgomery Clunk (pictured above) has remixed this track from Russian beatsmith DZA. As part of a remix comp which takes on DZA's 2010 Five-Finger Discount LP, this particular re-imagining of the track "Eskimo" finds Montgomery Clunk trying his hand at a variety of sonic manipulations to the grimey, fuzzy original. Maintaining a slow, teetering feel, the remixer adds a host of percussive hisses and clangs that sound as if a struggling machine was pumping and breathing in tandem with the tunes's lazy bass growls and buzzing synths. Somewhat reminiscent of Chris Clark's earlier Warp days (think Body Riddle or earlier), Clunk manages to deftly take "Eskimo" from aggressive beat to electro-acoustic mind warp and back a few times over the song's less than three minutes. This remix, along with 18 other efforts from a host of beat heads, can be found on the Five-Finger Remixes comp when it hits the streets May 16 (in digital and cassette form) on Error Broadcast, who will also serve as the home for Montgomery Clunk's forthcoming debut LP, slated for release later this year.
Siriusmo fans, take note: Not content to just release the excellent Mosaik LP, your favorite quirky German producer is set to drop a brand-new best-of compilation on Modeselektor's Monkeytown Records. A 42-track retrospective spanning two CDs, Pearls & Embarrassments will take 34 of the producer's previously vinyl-only singles and mix them up with eight unreleased songs from the vault. Read more »
Normally we would advise against messing with songs by the legendary Arthur Russell. That being said, London-based duo Labyrinth Ear (pictured above) has tastefully put its own touch to the iconic musician's "This Is How We Walk on the Moon," and we're kind of into it. The electro-pop rework pays homage to the original by maintaining a stripped-back, vocal-driven feel, but also moves along at a faster pace and is adorned with swirling synths and female vocals that trail Russell's own. It all builds toward a washed-out finale that pushes a subby, four-to-the-floor 808 beat, stuttering modulated vocals, and pattering percussion into the forefront. With a rework as on point as this, we'll make sure to keep a look out for what comes next from Labyrinth Ear.
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