When you have a name like Terror Danjah, "in bed" seems like a weird place to conduct an interview. Of course, it's midnight in his native London, and despite his aggressive handle, his personality is more than affable, even at this hour, as he asks me if his TV is too loud in the background. These days, the early-30-something producer, who, at least at this point, hasn't made his birth name known to the press, isn't having too much trouble being heard. Read more »
At this point, little is known about Swedish group Niki And The Dove, apart from the fact that it's made up of a singer named Malin and collection of old friends and associates. Though thin on background info, Niki And The Dove's music follows in the spirit of lush, expertly realized Swedish pop à la The Knife or The Tough Alliance. At the outset, Niki And The Dove's "Mother Protect" features understated percussion similar to that of minimal techno, but as soon as the chorus hits, the song transforms into a full-fledged pop song, albeit one that channels Kate Bush's mystical eccentricity. After giving "Mother Protect" a listen, check out the beautifully rendered video of another epic song, "Under the Bridge," which is posted after the jump. Read more »
This taste from the latest compilation to come from Gilles Peterson's Brownswood label, Brownswood Bubblers Six, is a rough-draft recording of "Liiines" by rising London-based wordsmith Ghostpoet. The affectionate MC calls this version of his brief piano-led tune a demo, but the way we hear it, maybe it's not entirely necessary to make that distinction. Sure, Ghostpoet's vocals are a bit murky and distorted for whatever reasons, but those kinds of homespun nuances lend the song an even stronger intimate feel, like he had to rush to get the song out while still in the thick of his own desolate emotions. And the beat? Well, that sounds as dusty and handmade as it should—demo or not.
Released earlier this month on Berlin imprint Ostgut Ton, Fünf (German for "five") celebrates five years of Ostgut Ton as one of the world's premiere techno labels. Not unlike London club Fabric's double-life as a record label, Ostgut Ton is owned by some of the resident DJs of fabled Berlin nightspots Berghain and Panorama Bar. Fünf puts those venues front-and-center with a unique field-recording concept that finds many of the compilation's producers capturing the pedestrian noises of both clubs, either in spirit or in actual live recordings. The album features 26 tracks made exclusively for the release, one of which is Marcel Dettmann's "Shelter," a highly compressed and white-noise-laden slice of techno that chugs along with machine-like efficiency.
While in Italy rocking the Dancity club night, NY-based garage patron FaltyDL sat down for a chat with some of the local press. The DJ/producer talked a bit about his musical education, the history of the style of music he makes, how he had to incessantly bother Mike Paradinas before the Planet Mu label head checked out his tunes, and other interesting topics. You can check out the video interview, which includes snippets of live footage from FaltyDL's set, after the jump. Read more »
The recently minted imprint from Swedish producer Martin Brodin (pictured above), simply called MB Disco, just announced its next release will be a 12" of remixes for the classic '80s tune "Jam On It" by Newcleus. The new mixes come courtesy of UK outfit Chicken Lips and label head Brodin. Read more »
Like a dirtier, less-conceptual Matthew Herbert or Soft Pink Truth, the elusive Parisian producer known as Ass of Bass (yeah, we're not keen on the name either) makes dubby, housey, disco-flavored dance tunes full of twisted vocal snippets, musical randomness, and deep vibes. There are plenty of sampled treasures and random sounds to be heard throughout "Duee Connexion #2," but it's the slamming four-on-the-floor and bouncing low-end that remains in the forefront—carrying the energetic tune for over seven minutes. You can discover how else the musicmaker twerks that sticky sound palette on his debut for Salon, a four-song EP with two original takes on "Duee Connexion" and two remixes from DJ Donna Summer, here.
Portland video production team Into the Woods has been culling musicians touring through PDX for short live performances. Past guests have included Abe Vigoda, Big Freedia, and Teebs—each new artist a more recognizable one than the last. Yesterday Into the Woods debuted its latest video, this time from Monome-master Daedelus. Sharing a love of arcade games with the video's producers, Daedelus puts his preternatural button-pressing skills to the test in Street Fighter before spending the rest of the video triggering his way through hip-hop, IDM, and house. With Portland behind him, Daedelus continues his Magical Properties tour with a series of dates in the Southwest. Check the locations and Into the Woods' video below. Read more »
One of the few Chicago-based labels offering support for the burgeoning juke/footwork scene, Ghettophiles, just dropped a fresh compilation of tracks by the tunesmiths of its hometown. Following the label's release of DJ Spinn & DJ Rashad's 4 the Ghetto EP, the eight-song Overkill is available exclusively through the Zero" website, and features the likes of DJ Manny, Arpebu (a.k.a. RP Boo), DJ Earl, Traxman, Spinn (pictured above), Rashad, and more. Read more »
Washington, D.C., chill-groove electronica trio Thunderball gets a serious makeover here, courtesy of San Francisco's tropically inclined bass excavator Ghosts on Tape. However, for his re-work of "Runaway," the original of which is taken from the forthcoming 12 Mile High record to be released on Thievery Corporation's ESL label, DJ/producer Ryan Merry switches out his percussion samples and low-end rumbles for something better fitting of an illegal warehouse party circa 1993. But it's not all glowsticks and Blow Pops on this track; Ghosts on Tape toys with ethereal vocal sampling à la UK bass music's finest, drops in some classic clubby synth melodies, and flips his production halfway through for an ominous finish that's purely his own. At nearly 10 minutes, it's certainly the longest song we've heard from Merry, but it might very well be his best, too.
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