From one of XLR8R's favorite new albums, DJ /rupture & Matt Shadetek's Solar Life Raft, comes this remix of Telepathe's "In Your Line." This version trades in the original's drumline percussion for slow-moving beats and atmosphere, making for one of Life Raft's more serene moments. Here, we're given an exclusive opportunity to check out the reworked song unmixed from the album's other bass-heavy components. You can hear more stand-alone tracks from Rupture & Shadetek on the digital-only compilation Solar Life Raft: The Ingredients when it's made available this February.
The Google-proof London School of Economics has created one of the weirder dubstep tracks in recent memory, liberally sampling The Rolling Stones' "Cocksucker Blues" as well as Primal Scream, ending with a dark, atmospheric piece that will certainly be echoing at late-night parties throughout the winter months. Read more »
Here, Brooklyn's Runaway tries their hand at "Life is Boring," the posthumous single from indie-dance outfit Cazals. The now-defunct UK band's song is re-envisioned by the NY duo as a tropical-influenced disco number fitting for beach parties and intergalactic journeys alike. More remixes from Jali, Viking, and Josh Pillbox can be found on the Life is Boring single when it sees release December 8. Order it now from
From The Stimulus Package, Freeway's forthcoming follow up to his '07 sophomore release, Free At Last, comes "Know What I Mean," the Philadelphia MC's tribute to hood euphemisms. Assembled by Seattle's Jake One, the veteran producer behind the boards on the entire album, the track's beat centers around a constant organ melody, plucked guitar riff, and soulful vocal sample. It may not be the freshest idea, but the music works perfectly, as it allows Freeway's non-stop verbiage to take center stage amongst the song's varied instrumental elements.
Largely conceived in the London bedroom studio of frontman Alex Shields, Mountain Debris is an impressive collection of distortion-bathed pop tunes that manages to stand out, even in an increasingly crowded lo-fi field. Combining a rough-around-the-edges pop pedigree with the warm fuzz of C86, the bleak soundscapes of vintage shoegaze, and just a hint of sweet psychedelic swirl, A Grave With No Name crafts impressively affecting songs that rarely crack the two-minute mark. Read more »
Setting aside all comparisons to a certain haze-hidden Scottish duo, the latest single from San Francisco's Tycho is probably one of the most melodic and subtly upbeat Balearic tracks in recent memory. Acoustic guitars, delayed synths, and atmospheric ocean sounds all meet atop a subdued house beat on producer Scott Hansen's ballad to the beach, "Coastal Brake." If the warm, inviting tones of Tycho's third single, taken from an as-yet-untitled debut album coming in 2010 on Ghostly, aren't reason enough to get your hands on the 12" release, maybe the detailed and beautiful packaging (done by Hansen himself, who also does design work under the name ISO50) will get you digging in those pockets. Coastal Brake is out on digital and vinyl formats December 8.
Until now, our City Guide podcast series has been focused on the West Coast, but we've also got plenty of love for our friends on the other side of the continent. This week we're sampling the sounds of New York, and who better to survey the Big Apple than our homegirl (and former editor) Vivian Host (a.k.a Star Eyes). Read more »
Hyper-sexual Barcelona electro imprint Tracy just dropped For Trash, the latest EP from Bitcode. This remix of the title track comes courtesy of Warp alumnus Jimmy Edgar, who smooths the original's obtuse edges with his patented sheen and brings the dark undertones of "For Trash" to the forefront—making for a tune that drunken dancefloor revelers could easily mistake for something from Mr. Oizo's catalog.
Technically, this is Jogger's first full-length, but there's enough music here to fill five albums. The duo (Amir Yaghmai on violin/guitar/vocals and Jonathan Larroquette on laptop/controllers/vocals) packs each of its 10 tracks here with sounds drawing on everything from ambient to folk to rock, utilizing a manic cut-and-paste-and-layer-and-distort-and-process aesthetic that's, well, crowded. Read more »