Miami's Gosub has certainly absorbed the electro-funk sounds that have been coming from Detroit for years, as "Eyes of Nimrud" sounds like a lost Drexciya track. Its ominous bass loop, dry hand-claps, and squelchy synth runs would fit right in on a Submerge Recordings compilation, and the pitch-shifted vocals are insanely similar to those on countless Underground Resistance recordings. While the press release's claim that Gosub is "predicting funk's future" seems a bit absurd as a result of these similarities to older, more venerated recordings, his talents are evident and plentiful on this track taken from his The Last Time... EP. Available on sale right now, it would behoove all fans of UR and its affiliates to jump on this slice ASAP.
On the forthcoming Subject to Shift, his first album under the Solvent moniker in six years, Jason Amm brings an air of synth-pop melancholy to a sound that had previously inhabited the imagined world of happy analog robots. While the sonics remain analog, "Loss for Words" is indicative of Amm's new direction—a sheen of sad, watery synths flows behind bright swells that bring New Romantic sounds to mind. With multi-tracked vocals intoning about an unhappy, non-communicative relationship softly floating above it all, one can imagine Solvent blasting out of many college dorm windows, and this is most certainly a good thing.
Though the economy is still a mess, we can rejoice in the fact that Freeway and Jake One's The Stimulus Package is here to rejuvenate hip-hop. The two display perfect chemistry with the Seattle beatsmith's bangers complimenting the Philly Freezer's gruff delivery. Read more »
8-bit tunes are so 2005. Seattle's premiere bass-toting, hip-hop-obsessed gamers-cum-production duo, Splatinum up the resolution on its latest single, "Pumping Quarterz." The track's hard-hitting beat and vocodered hook ("fat booty bitches is so delicious") speak to the outfit's club-lovin' side, but the buzzing synths and assorted sound effects are clearly the work of pure video game fanboys. It would be a stretch to call "Pumping Quarterz" geek-hop, or any other contrived genre title, but Splatinum offers sounds for both ends of that spectrum—along with remixes from Mochipet and Inaudible—on its Pumping Quarterz EP, available for free download here.
Back to the Future: Barcelona's Delorean Distills Classic Rave and Shoegaze Bliss into Perfect Pop Moments
It was only recently, after having been together for nearly a decade, that Barcelona-based quartet Delorean had their biggest breakthrough: They didn’t need to be a "band" anymore, at least not in the conventional sense. Read more »
Call it sound collage, call it electronic indie, or call it totally unclassifiable, but the songs created by The Books stand in a special realm of true ingenuity and innovation. It's been five years since the NY-based duo released its third album, Lost and Safe, but news of the goings-on with the band has finally surfaced. Read more »
It's pretty awesome that Scion brought out the big guns to release this brand-new track from veteran garage producer Todd Edwards as the next installment of its Scion A/V Remix series. More awesome still is the host of remixers corralled to flesh out the release: 2-step legend MJ Cole, Feadz, and future-dubstep darling Joy Orbison all have a go at Edwards' original. Here, Orbison tones down the ecstatic sounds of "I Might Be" for an even-keeled number that places subtle synth melodies and sub-bass rumbles far below the soulful Auto-Tuned vocal hooks and stuttering dance beats. If you're interested in doing some comparisons on your own, you can grab Edwards' original version and the rest of the remixes over here, well before the EP's official release date on April 12.
Taken from Bustin' Loose, the fourth compilation released by the DC-based T&A label (run by Tittsworth and DJ Ayers), this remix of Steve Starks' "Lydia" by Smalltown Romeo is a high-energy exercise in rolling basslines, bouncing disco-house beats, and a seemingly endless arsenal of swelling background sounds. The Canadian supergroup—made up of the Smalltown DJs duo and Wax Romeo—seems to have only left the original's Spanish vocal intact, but even that is vocodered into oblivion. Basically, "Lydia" receives an almost complete 180—effectively transforming from a gritty street-bass number into something more suitable for a nightclub with a dress code.
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