Nu-jazz crooner Jose James continues to soothe with his smokey intonations on this track from his latest album, Black Magic. There's something of the late Marvin Gaye in James' voice on the piece, whose crackling beats and vintage organ samples could only come from LA's Flying Lotus. In short, "Code" is perfect for some sexual seduction, but if you want a more immediate experience of FlyLo's musical prowess, the producer is also making some limited live appearances in the coming months, which you can check out below. Flying Lotus Tour Dates: 03-17 Austin, TX - The Phoenix [Warp SXSW Showcase] 03-27 San Francisco, CA - Mezzanine 03-30 New York, NY - Le Poisson Rouge 04-01 Detroit, MI - Magic Stick 04-02 Chicago, IL - Double Door 04-03 Minneapolis, MN - BarFly Loft
At this point, an artist like Martyn needs no introduction. Widely hailed as a leader when it comes to pushing sonic boundaries, particularly in the world of dubstep, we here at XLR8R are simply ecstatic that he's put together an exclusive mix for our weekly podcast series. Read more »
Taken from the second of All City's set of 10 collaborative 10" releases highlighting acts from LA's burgeoning beat scene, Take's "Soul Particles" begins with a soulful disco sample, then launches into a shuffle that would make Flying Lotus proud. Snippets from the original sample form the regal melodic backdrop for the piece, with echoing female vocals and a nice, lilting synth line doing most of the work in front of secondary blips. With his more sample-heavy, experimental approach to crafting beats, Take is on track to become one of the most unqiue artists to emerge from what is an increasingly crowded genre.
Rhode Island duo Lightning Bolt is one of the rare groups you don’t want to change. Their m.o. is so potent, it would be misguided for them to deviate from it. Drummer/vocalist Brian Chippendale and bassist Brian Gibson make hyper-tense, swarming noise rock that moves with exhausting speed and power while avoiding cartoonish macho posturing. Read more »
Popular Shoreditch-area club Plastic People has come under fire from the local Hackney town council over concerns about crime prevention and public nuisance claims. Though the council hearing regarding the club's license isn't until March 31, the prospect of losing Plastic People has generated an outpouring of support and appreciation from club-goers all over the world. Read more »
So here it is: the guys that run Dublab (Bryan "Morpho" Younce and Mark "frosty" McNeill) gathered up four LA-based beatsmiths (Daedelus, J.Rocc, Ras G, and Nobody), sent them on a journey throughout their hometown's thrift stores to score all the dusty vinyl five dollars could buy, commissioned them to turn their uncovered records into new music, and transformed the whole experience into an album, documentary, and art piece to be distributed by Stones Throw. Read more »
A review of rising design star Siggi Eggertsson's work reveals a creeping interest in sports—portraits of athletes, a mosaic of basketball cards, a quilt bearing the likeness of Michael Jordan. Perhaps this is the Icelandic designer's secret—like an athlete, Eggertsson trains for originality.
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Here's the latest in buzz-worthy NSFW internet drama. Dancehall MCs Ms. Thing and Psycho Tanbad have rallied their vocal skills atop of Brooklyn producer Dre Skull's Smoke Machine riddim, which was also the basis for last year's "Yuh Love" track by Vbyz Kartel, and come up with the hyper-sexual "Bonify." So what's the controversy? Well, listen to the song. Over Skull's upbeat, melodic riddim, Thing and Tanbad wax erotic—explaining every reason they prefer each other to their respective partners—in graphic detail. There's a video for the track here, and a super raw, so-not-okay-for-the-office video floating around the internets as well. Lil Kim and R. Kelly, eat your hearts out. You can buy the "Bonify" single on iTunes.
This subdued piece of techno comes to us from the new Youandewan EP, Sub-Rosa, who crafted this dub of the original track by dOP. The Leeds-based producer's sparse, reverberated percussion nicely compliments the subtle, throbbing low-end and serves as the perfect backdrop for the chopped-and-screwed vocal loop to dance about from one ear to the other.
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