The widely followed flame war between M.I.A. and NY Times writer Lynn Hirschberg over a not-so-positive article the reporter wrote on the musician was taken to a whole new level the other day—think Biggie versus Tupac, but if Biggie was a pseudo-political pop diva and Tupac was a journalist. Read more »
If forced to compile 2010's best albums so far, it's a safe bet that Four Tet's There Is Love in You and Caribou's Swim would both make our short list. So when we saw that Caribou had remixed Four Tet's "Angel Echoes," it was enough to get us jumping up and down like excitable toddlers. Taken from the forthcoming "Angel Echoes" 12", which will be released in August, Dan Snaith's Caribou remix stretches out the, erm, angelic original, bumps up the percussion, and blends in some bouncing basslines. While some of the track's serene bliss gets lost in the process, the remix is certainly better equipped for the dancefloor. (via Gorilla vs. Bear)
With the release of her debut LP on Hyperdub, Sara Abdel-Hamid, the rebellious London producer known as Ikonika, wants to shake up dubstep with funky, R&B-dabbled rhythms and a punk ethos. Flying Lotus chats with her about her plan of attack. Read more »
Two of LA's more melodically minded beat craftsmen converge on this piece of piano-led electronic music. Newcomer Baths (above) relinquished the stems from his lovelorn number "♥"—from his forthcoming debut album Cerulean—to another beat romantic, Daedelus. Well, the remix is as painfully sad the original, especially within the realm of the oft testosterone-driven beat scene, but it's also strangely beautiful in the way one might fondly recall a fuzzy memory from years past. The muffled piano melody, the floating synth sounds, and the dragged-down vocal performance all feel warmed by a feeling of quiet solitude within which both versions were most likely born.
The consistently excellent and utterly prolific artist known as Dâm-Funk recently dropped this gem on the world as part of his Straight from the Lab series displayed on the Stones Throw website. It's another addition to his ever-growing catalog of forward-thinking boogie tunes that prominently feature thick, buttery bass synths, classic drum-machine tones, spacey analog keyboards, and a big helping of Dâm's colorful vocal delivery thrown in for extra effect. This new tune sounds both off the cuff—as it jams on only a couple of ideas for nearly four minutes—and well rehearsed in its delivery, since just about everything Dâm-Funk puts his hand to has the soulfulness and immediacy of a classic track we've listened to for years.
In case you weren't sure, there was at least one specific reason why Ariel Pink adorned the cover of our latest print issue, and that's because the dude is releasing a new album with his band, Ariel Pink's Haunted Graffiti. Said record, Before Today, comes out in a week, but the LA Times ran a piece on the band today that featured the premiere of the forthcoming album streaming in its entirety. Read more »
Somewhere within the spectrum of next-level house, techno, and dubstep lie the sounds brought together by UK producers Al Tourettes (above) and Appleblim on the duo's upcoming new EP, Lipsmacker, for Will Saul's Aus label. The three-track release features two original numbers from the production team, "Lipsmacker" and "Mr. Read more »
Two years after Barcelona's Pablo Díaz-Reixa (a.k.a. El Guincho) released his last album of Latin-flavored psychedelic pop music, Alegranza!, the producer is ready to bring the world more of his warped, upbeat analog soundscapes. Read more »
This one comes to us courtesy of Night Slugs, the consistently impressive label headed up by bass afficionados Bok Bok and L-Vis 1990, and its taken from a recent white-label release by fellow UK DJ/producer Lil Silva. The grime-influenced youngster just released the Night Skanker EP—which can be previewed here—and while this track won't be found on the record, it's still pretty exciting. "No Hooks" is a perplexing title for the song, as it flexes one singular bass-synth melody for three of its four minutes and is one of the more accessible UK funky tunes we've heard in a while, but the track's simple, infectious groove is definitely strong enough to stand without another sound added.
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