The collaborative outfit comprised of dubstep icons Coki and Mala, Digital Mystikz, recently announced that it will release a follow-up to this year's Return II Space, which was produced entirely by Mala, with another album made up of all Coki tracks. Urban Ethics is purported to be coming sometime in early 2011, and will be released by the duo's own DMZ imprint. Read more »
Now that Daft Punk seems to be going the way of its Parisian brethren Justice (really, have you heard this "Derezzed" business?), maybe we can all stop waiting with bated breath for anything resembling the funky, fun-loving tunes we first loved from the duo, and continue looking elsewhere for our fix of infectious French house. You can get started with Ghosts of Venice's just-released jam for the Solid Bump label, "Her," and its accompanying remix by Chicago's Bit Funk (pictured above). Rarely does a producer's moniker fit their sound so well; Bit Funk's "Her" remix is certainly full of funky house grooves, with just a tad of lo-bit synth energy to give it a special edge.
The fella behind our most recent podcast, Bristol producer Hyetal, also took the helm for this skittering remix of Ratatat's "Neckbrace." That duo's trademark sound arsenal—scraping grooves, layers of live instrumentation, and reversed synth/guitar swells—is re-fixed to fit the UK tunesmith's club-ready format, sounding like something more along the lines of Giorgio Moroder trying his hand at bass music. Surprisingly, it all meshes well, even when Hyetal isn't pushing his shuffling dance beats in the mix, and during lulls in the hyperactivity, Ratatat's melodic soundscapes are appropriated for touching vibes unavailable on the band's own records.
We've all heard about it, we've likely all been talking about it, and we now, can all hear it: Brian Eno's brand-new album for Warp, Small Craft on a Milk Sea. There's really no reason to try to compartmentalize or even describe the music on this record; the artist name and title alone do the job for us. So, we'll just point you in the right direction. Read more »
At this point, we're not even really bothered that Wiley has apparently reused his lyrics from this tune he did with MJ Cole on Prodigal's Showa Eski Riddim (you can hear that here). The flow is excellent, it works perfectly on both tracks, and besides, people constantly reuse ideas—and to great effect. Read more »
Doing remixes of high-profile artists is certainly one way to make sure people take notice of your work. Obviously, it also helps to make those remixes good, but it's equally important to make your own production style stand out in the mix of familiar sounds. And that's exactly what Barcelona's My Dry Wet Mess (pictured above) does on his rework of Flying Lotus' Pattern + Grid World cut "Pie Face." The playful bleeps and bloops and lighthearted swagger of producer Steven Ellison's original track are still intact, but the Spanish beatsmith tweaks those sounds into a jam with a tad more textural atmosphere, stuttering bounce, and cluttered sound palette. My Dry Wet Mess' remix quite expertly rides the line between respecting his source material and flexing his own style, and stands up well next to his own tracks from his just-released debut album on Magical Properties, Irrational Alphabet. (via LA Times)
Lately, it seems like all a producer needs for a solid track is one really good idea, coupled with a small handful of complimentary sounds. For "Ice Job," by San Francisco producer Roche, that one good idea is a ghostly descending melody looped ad infinitum, paired with some subtle bass tones undulating underneath it and the accompanying polyrhythms. The ongoing loop (we can't quite tell what instrument it is exactly) seems like it'll never stop, but somewhere around the 4:20 mark (go figure!), it takes a reprieve and wafts about in a brief limbo while the beat and bass continue to groove like nothing's changed. Roche's mesmerizing proto-house cut is the lead song on his recently released four-track Degage EP, which you can nab for a decent price here.
For the third release from Glasgow's Phuturelabs imprint, fellow Scotsman S-Type hooks up a few purply, nod-worthy cuts, which include this mid-tempo jam, "Terry Nutkins." The tune starts grooving from the get-go with a stuttering melody and a hip-hop beat bouncing in half-time, occasionally peppered with some warped vocal exclamations, and takes no time joining up with an arsenal of keys—organs, lead synths, pads, wobble bass, etc.—that grows larger and larger with each passing minute. At times, S-Type's production is a bit anthemic, a bit grimy, a bit wonky, and a bit (as said before) purple, but no matter which sound "Terry Nutkins" pushes, it remains ready, willing, and able to move you at the push of a play button.
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