On "R&S," Asheville, NC producer Marley Carroll channels the muted and subtlely emotive dubstep of days gone by with a cut that's heavy on the bass but light on bombast. In vintage bass music fashion, this just-under-140-bpm tune provides almost no melodies in the high- and mid-range, instead focusing on sharp percussion and a heap of breathing sub-bass tones. Short vocal snippets and a simple synthline pepper the tune, but the song's allure isn't so much in the notes as in the spaces between them. "R&S" was released yesterday a part of the R&S/Cedars EP, which can be downloaded for the price of your choosing over on Carroll's Bandcamp.
Last time we'd heard from Pursuit Grooves (a.k.a. Vanese Smith), she'd just released her Frantically Hopeful LP, and tossed us two free tracks. Now, we've discovered that the genre-defying producer and MC is branching out into new musical ground with a new alias, 91 Fellows. Read more »
Knowing that New Orleans producer Jim-E Stack's (pictured above) forthcoming "Bubble Boy" single will be out in less than a week (July 3, to be exact) via Body High, the label's decided to whet our appetites by releasing the artist's refix of DV8's 1992 deep-house track "C'mon". Jim-E Stack breathes new life and millennial soul into the original production, trimming it down by a few minutes as well as imbuing it with layers of ethereal keys, new samples, shuffling percussion, and youthful energy.
LA-based artist and recent XLR8R podcast contributor Anenon just slipped us this lean piece of beatwork he crafted as a remix for German rock band Sizarr's "Boarding Time" (artwork above). Anenon's "Euphoria Mix" is marked by a simple bassline and crisp percussion, with disembodied vocals from the original creeping their way into the mix behind soaring synth licks. The remix (thankfully) takes very little from the original tune, which was released as a single via Colombia subsidiary Four Music last week. Anenon isn't the only producer on remix duty for "Boarding Time," as Red Bull Music Academy alums Exeter and Yosi Horikawa have also each taken a crack at the tune.
Darling Farah's Body does not sound like a debut LP. In most cases, artists gleefully approach their debut full-length as an opportunity to expand on their established talents—a chance to show off their range—and, in doing so, usually end up with a collection of tracks jam-packed with ideas. With Darling Farah's debut, this is not the case. Instead, Body is very much a record that is intensely focused, an effort icy in its dedication to texture, rhythm, space, structure, and detail. It is also a record built around repetition, seemingly asking for a similar amount of focus and patience from the listener as the producer likely put into the work himself. Read more »
We already pointed out in our recent High Five feature that flamboyance is a hallmark of Jimmy Edgar's work, so it would be kind of redundant to describe the Berlin resident's video for Majenta cut "Let Yrself Be" as "flashy." But from the opening credits until the clip fades to black, the Hotflush artist's latest audio-visual composition bursts, flickers, and blazes with neon sensory overload, as if to mirror the beat's persistent kicks. Read more »
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