The title track from South African DJ/producer/vocalist/graphic artist Spoek Mathambo's forthcoming debut album is a bubbling piece of club-friendly riddims, rubbery basslines, and sparse synth hooks pulled together around playful vocal work. Mathambo handles the bulk of the MC duties, but brings in a group of ladies to help fill out the chorus of "Mshini Wam" and its "Little Drummer Boy"-referencing refrain. Months before the album comes out September 13, the track's official single will be released July 27, along with "Gwababa (Don't Be Scared)" and remixes from the likes of Schlachthofbronx, Subtitle, Krazy Fiesta, Canblaster, and many more.
Now here's something that takes the whole played-out "face melting" thing to a new level. Low Limit, who doubles as one half of Lazer Sword, produced this track a while back before it was included on the inaugural Numbers release, The Golden Handshake EP, and now it's been given a fiery (literally speaking) music video courtesy of The No Problem. Read more »
New artists have been rapidly emerging from the ether of the LA beat scene for quite some time, but recent times have also seen a uptick in the number of labels popping up to support the music with things like, you know, official releases. The Non Projects imprint is a member of this new class, and next week the label will unveil its second offering, the Silver Trees/Damiel EP. It's a split release from a pair of like-minded LA artists, the young and classically trained Asura (a.k.a. Ryan York) and Non Projects label head Anenon (a.k.a. Brian Simon). Read more »
Beat Happening: From the Seeds Planted by Flying Lotus and Low End Theory, LA's Abstract Instrumental Scene Branches Outward.
It's Wednesday night, and the scene at LA's Airliner Club is typical: A sea of nodding baseball caps; empty Pabst tallboys lining the bar; speaker stacks blasting out waves of wobbly, ribcage-rattling bass. This is Low End Theory, and thanks to the rise of Flying Lotus, it's arguably the hottest club in the US right now. Certainly the crowd seems to think so—the place is packed, and the atmosphere is celebratory. Read more »
This remix of Parson's "I Rep the Dirty South" from Austin's Dubbel Dutch (pictured above) first premiered in the podcast the DJ/producer put together for our XLR8R City Guide series, but was just released from its mix confines and shared over on FACT. Producer Marc Glasser treats his remix almost like an anthem for his home state, as he forms the body-shaking bass tones, shuffling future-house rhythms, and rave-inspired synth melodies around pitched-down vocal samples of "I rep the dirty south" and "Lone Star State," and makes the whole thing sound mighty big.
For his latest single produced for the ongoing Scion A/V single series, veteran garage icon Todd Edwards crafted a classic-sounding, heavily melodic tune called "I Might Be," which was released with remixes from Joy Orbison, MJ Cole, My Dear Disco, and Feadz. Now a video has surfaced for the song, and it also happens to be the first music video ever officially made for an Edwards tune. Read more »
It makes perfect sense that this track from Detroit's Sherard Ingram (a.k.a. Urban Tribe) comes courtesy of Carl Craig's Planet E label; the vintage aesthetic and warm analog timbres are wholly reminiscent of fellow Craig cohort Etienne Jaumet. From Ingram's recently released Loyal Opposition EP, "Insolitology" takes you on a relatively slow-paced, scenic journey through wavering synth melodies and sparse bits of spacey sonics, all floating along past the song's elegantly tumbling bassline and steady house beat that carry you the whole way. By the time it drops you off at the five-minute mark, you'll be ready for whatever intergalactic excursion Urban Tribe has in store next. Loyal Opposition is on sale now right here.
This Oneohtrix Point Never remix of Blondes' "Moondance" has been floating around the internet for a few months, but we never got around to posting it and, more importantly, we're once again in the grips of Blondes fever, as the Brooklyn duo has finally unveiled its official debut, the Touched EP, on the Merok label. While the original "Moondance" is a blissfully building piece of handmade techno powered by washy analog synths and a pulsing backbeat, OPN's take strips out all the dancefloor vibes and instead focuses on layering spaced-out synths on top of one another. The remix may not be suitable for peak time at the party, but when it's 5 a.m. and you're sleepily settling into a corner while waiting for your friends to reemerge from whatever shady holes they crawled into earlier in the evening, this song could serve as an awfully cozy sonic pillow.
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