Space travel isn't a new theme for the burgeoning beat scene, but few seem as focused on exploring such inspirations as LA's Ras G (& The Afrikan Space Program). His latest bass-driven intergalactic escapade, "Breakfast Blunts," comes from the third installment of the All City label's ongoing 10" series dedicated to So Cal's head-nodders, on which he shares wax space with fellow Brainfeeder Samiyam. On "Blunts," a crunchy beat gallops along with an arsenal of distant transmissions from who knows where always floating along at its side. Ras eventually joins the company of someone who sounds a lot like Chris Tucker ranting indecipherably before taking off again to discover new sonic realms.
Vis-Ed: Aaron Huey—From Afghani Drug Raids to Oklahoma Frat Houses, This is One Photographer Who Ain't Never Scared
"It's not how many, it's how deep," says Aaron Huey. Get your mind out of the gutter—I've just asked him how many countries he's visited. It's a question he doesn't like to answer because it makes him "sound like a backpacker in Thailand"—though Huey's resume would strike fear and awe into the heart of even the most intrepid Kiwi hosteller. Read more »
It's been about a year since Brooklyn's sex-obsessed, vintage-disco tweakers In Flagranti delivered a proper single, complete with cut 'n' pasted photos of stark naked women, but a follow up to "Ex Ex Ex" is finished and prepped for release. "Through a Rabbit Hole" arrives June 14 from the duo's Codek label, and shows the relatively subdued and slow-grooving side to Sasha Crnobrnja and Alex Goor's production work. Read more »
Gomma co-owner Telonius might be more well-known for crafting electo-infused post-disco gems, but the original of "Hit Me" is more likely to find acclaim among slow-motion disco fiends who are waiting for the next Lindstrøm track to drop. With its brash bassline, bright synth harmonies, and wet percussion, the track sounds like a lost gem from those heady days of the '80s, when electro and house were taking over from disco but techno hadn't invaded the electronic landscape yet. The fun, somewhat absurd Italo-style vocals and hypnotic synth flourishes seal the deal: "Hit Me" is a throwback piece in the best sense of the term, and is just perfect enough to be placed next to Freeez or Baldelli's latest cosmic offering.
Another stand-out remix from the just-released Ghostly compilation, The Horizon Line/Ghostly By Night, Paul White's version of Mux Mool's "Wolf Tone Symphony" ups the original's hip-hop vibe quite a bit. In fact, you'd almost expect the track title to come with an "(Instrumental)" tag; the shuffling rhythm of White's reworked beat sounds is dying to be rhymed over. Only vocal samples are present, however, but White properly fills in the available space with enough melodic synth work to make up for "Symphony"'s lack of fiery cadence.
It's hard to believe that classic American house music is nearing 30 years old, even as the music continues to mutate and endure on dancefloors around the globe. Twenty years in, Strictly Rhythm has come to be synonymous with the genre. 20 Years. Remixed. stuffs two discs with the label's most iconic tracks from big names like Ultra Nate, Armand Van Helden, and Barbara Tucker, leaving new twists to a younger generation of remixers. Read more »
To celebrate 4/20 and the forthcoming release of Cosmogramma, Flying Lotus and members of his Brainfeeder crew will descend on the Dublab studios in Los Angeles for several hours to play some records and make some psychedelic sounds especially for you. To open the show, FlyLo will take you through the chosen cuts from the new LP, with other likely participants including The Gaslamp Killer, Ras G, Daedelus, Teebs, Matthewdavid, and Dr. Strangeloop. Read more »
Yokohama's BD1982 has a new album out now, and if the title single below is any indication, Let's Talk Math promises to be one of the most interesting funky, bass-driven records of the year. Featuring heavily-delayed synth-guitar plucks, lushly-vocoded vocal elements, and a daring near-tribal percussion sound, "Let's Talk Math" is fluid enough that it could fit into anything, from a Villalobos set to a Starkey mixtape. BD1982 performs quite a feat here, proving that bass music need not always contain subsonic throbs to work wonders on a dancefloor.
New York's reignited love affair with disco has been going strong for more than a decade now, and My Cousin Roy has been right in the thick of it. As head of the Wurst label, Roy has played a key role in the scene's thriving re-edit culture while also overseeing some of NY's most legendary parties. This past winter he was holed up in the studio, often with fellow NYC DJ/producer Nick Chacona, with whom he operates under the name Beg to Differ. Read more »
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