After one quick look at Parisian DJ/producer French Fries' MySpace page, it's apparent the guy is into 'club' tunes. Thankfully for us, he doesn't equate bad remixes of "Baba O'Riley" or the new Christina Aguilera as music fit for his (or your) dance parties, and instead flexes the likes of Lil Silva, Ramadanman, Untold, James Blake, and Supra1 in his DJ sets. Read more »
Apparently, this is from MED's forthcoming new album for Stones Throw, but no real details are available on that release. Regardless, "Classic" is a, um, classically soulful affair produced by Karriem Riggins, and full of softly plucked guitar melodies, ethereal vocal "ahs," and muffled orchestral arrangements. But the elements of the track's soft side are all balanced out by the crisp boom and bap of the slow-grooving hip-hop beat that really carries the song. Over it, both MED and Talib Kweli deliver even-handed flows that highlight their loves for tasteful lyricism and timeless instrumentals—both of which "Classic" has in spades.
Long before the LA beat scene threatened to take over the pages of XLR8R, The Glitch Mob was turning heads with its party-starting and hip-hop-informed take on bass music. Now, on the heels of their debut album, Drink the Sea, Ooah, Boreta, and edIT have moved beyond the confines of their Southern California stomping grounds and taken their low-end rumblings to the masses. Read more »
Taken from the official debut single by Skream, Benga, and Artwork's collaborative project, Magnetic Man (pictured above), Redlight's remix of "I Need Air" starts out mellow enough with a distant melody and catchy female-vocal hook, but soon erupts into steeply ascending and descending synth loops, ground-shaking rhythms, and loads of other bells and whistles. Thanks to the vocals and memorable melody, the track has a slight bit of pop appeal, though it's quickly traded in for rave-friendly club-tune-isms—making Redlight's interpretation a peak-hour pleaser through and through.
Skull Disco co-conspirator Shackleton crafted this shuffling, dubby remix for veteran IDM trio To Rococo Rot's (pictured above) recently released Forwardness Fridays EP. The original track comes from the outfit's latest for Domino, Speculation, and actually closed out that record's 10 tracks. Shackleton's rework doesn't sound too far from the atmospheric vibes and pattering rhythms of To Rococo Rot's own production work, but regardless, there's a certain je ne sais quoi that exists within the clicking beats and thick bass melodies that is obviously his own. The eight-minute tune was released alongside the album version of "Forwardness" and a remix of that track by Traversable Wormhole, all of which you can get ahold of here.
This video for "Hindou," taken from El Guincho's forthcoming Piratas de Sudamérica EP (released July 13 via Young Turks), splices together random, summery images with footage of a young boy dressed as a pirate rowing around with an older friend in a small boat. Read more »
Retronyms, an iPhone- and iPad-software developing company, brought together four producers from across the electronic music spectrum, and commissioned them to create tracks using only one of its touch-friendly musical tools, the DopplerPad. Music makers Eskmo, Starkey, Exillon, and Jneiro Jarel each wrote a tune for the free downloadable EP, called Outer Spaces. Read more »
In his write-up for DJ Elmoe's "Whea Yo Ghost At, Whea Yo Dead Man", XLR8R Managing Editor Shawn Reynaldo wrote, "More songs like this, please." It seems at least one producer, namely South London's Becoming Real, might have taken heed. Though the producer (born Toby Ridler) isn't making footwork/juke tunes per se, the same blend of house/techno influences, hip-hop rhythms, and tendency to drench beats in wonky sounds (vocal sample, percussion, synth, or otherwise) is at the center of his music. "The Thing" takes those ideas and applies them to the production aesthetic touted by forward-thinking dubstep producers, creating a style Ridler haphazardly coined "ghost step." Really, Becoming Real's production is a huge mess, though beautifully so; the song changes trajectories multiple times through its three minutes, sounds seem like they're tossed in because he just wanted to hear what would happen, and at the end of it all he's left you so confused you can't help but go back to the beginning and try to make sense of it again. (via FACT)
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