Scotland's Loops Haunt crafts noisy, industrial dubstep sounds, and on this edit from Oakland's NastyNasty, the noise is brought to new levels. Perhaps it is the percussion's more pronounced stutter, or maybe it is the addition of a cut-up vocal snippet, but the piece is infinitely more disorienting and strange than the original's Richard D. James-does-dubstep feel. Quite something here, though its dancefloor efficacy is questionable.
The first full-length from Thomas Moen Hermansen under his Prins Thomas moniker is coming soon, and if "Uggebugg" is any indication, the record doesn't depart much from the sound that Hermansen has created with Hans-Peter Lindstrøm. Featuring sentimental, heavily delayed guitar lines evoking expansive vistas, a monstrous bass sound, and an organic balearic percussion sound, "Uggebugg" is certainly a move away from Hermansen's work under the Major Swellings alias, but will definitely please fans of his past singles and collaborations.
Among the myriad skills Paul Rose (a.k.a. Scuba) possesses is putting his projects in a right, tight context before the music even begins. Triangulation, his second album of original productions, is a largely seamless distillation of regional dance vibes found in the Berlin, Detroit, and London power centers. If it were mere formula, or history lesson, it would have less impact. Read more »
Ever since Dave Nada stumbled upon a new style by slowing down Dutch house to reggaeton speed and subsequently labeled the genre moombahton, the sound has been taking over. Earlier this month, he released a free EP of moombahton edits and moombahton was literally on blast everywhere at SXSW and WMC. Read more »
Natalie Storm: A Hot Gyal MC Brings the Perfect Storm to the Clubs with Jamaican Pop, Bashment, and Global Bass
Cloud Seed, the "lost" second album of dubstep pioneers Vex'd is finally seeing the light of day in April, and "Disposition" is taken from that release. Though low, atmospheric bass still rumbles through the track, its less frenetic pace and rhyming courtesy of Jest are nice surprises. The vocal intonations are somewhat similar to those of Aesop, so paired with the industrial thrum of the instrumental and the soulful vocal snippets punctuating the piece, "Disposition" is a 21st-century take on hip-hop tropes that really works.
Thomas Fehlmann's latest effort is a soundtrack to the longest documentary film in history, 24H Berlin, which follows Berlin residents around their city for 24 hours. Fehlmann, known best for his ambient works and membership in The Orb, gets balearic on "Permanent Touch," utilizing arpeggiated synths, sunny high-frequency squelches, and lush, watery pans to create an atmosphere that reminds one more of the beach than Berlin's concrete jungle. Like an exemplary Lindstrom & Prins Thomas collaboration, "Permanent Touch" is the sort of track that will definitely be blasting from smoky car speakers this spring and summer.
In the early '00s, Sydney's Paul Gough (a.k.a. Pimmon proudly broke the bones of pop tunes and left them as mangled paperclip sculptures that embodied the fearlessness and merciless self-indulgence of glitch-techno. He matures a bit on Smudges Another Yesterday. Read more »
Say what you will about Canadian health care, you crazy Republicans, but you can't argue (well, sure you can, but, well, you know...) that Canadian tax dollars flowing toward the country's national broadcaster aren't well spent when they facilitate mind-melting musical meetings like this one. Read more »
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