San Francisco outfit Exray's is just about two months from the release of its second full-length, Trust a Robot, and has enlisted West Coast beatmaker Devonwho for a pleasantly disjointed remix of one of its cuts. The Bay Area-via-Portland producer stripped the original song of pretty much everything but its rounded bass and synth tones, which he expertly applies to a stuttering rhythm and some sporadic vocal samples on this herky-jerky version of Exray's "Ancient Thing."
Two institutions of the current West Coast house scene, Portland's Miracles Club (pictured above) and San Francsico's Honey Soundsystem crew, have announced they will join forces for a three-day tour up and down the West Coast. Read more »
The last few years have witnessed UK DJ/producer Jamie Jones rise to the top of the house and techno scene using a signature formula. Jones' tunes are characterized by funky basslines in an exceptionally low register, hypnotic and often dissonant synths, and a dark, minimalist aesthetic. While this method has netted Jones quite a collection of high-caliber dancefloor successes, the pieces don't quite come together on "Our Time in Liberty," which ends up feeling entirely too dissonant and lacks his typical groove. Read more »
Sounding a bit like something we might've heard from the Tri Angle imprint last year, this remix of Lianne La Havas' "Lost and Found" from British house DJ/producer Maya Jane Coles (pictured above) is a slow-grooving and soulful piece with just the right touches of club-ready rhythms and poignant vocal hooks. Sparse synth blips and piano chords occasionally adorn La Havas' soft performance, while the garage-y percussion carries the whole thing to its understated conclusion—making for a nice companion to the percolating version of her "Forget" tune that Shlohmo delivered at the beginning of the year.
We've mentioned the icy synth escapades of WOLS before, and although the former duo has now been whittled down to a solo act, there's still a new EP forthcoming via FUSELab, and the Moscow-based producer has offered up "Red Ways," one of the record's finer selections. A dancefloor jam utilizing a brisk, half-step pace and fraught with starry, drama-filled piano lines, the song serves as a suitable showcase for the type of precise, iron-plated electronica WOLS has made its calling card. Although the track is undeniably modern, one gets the feeling that "Red Ways" could only have been made by an artist with a deep understanding of Soviet culture and Russia's unique history. The seven-track Outgunned EP (artwork above) will be available in a few weeks time on FUSELab, but check the cover art above and have a listen to a full stream of the entire release now, after the jump. Read more »
By now, even casual readers of XLR8R have likely noticed that we've taken quite a shine to Anenon (a.k.a. Non Projects label boss Brian Simon). Back in March, we streamed his excellent Acquiescence EP. Earlier in April, we went inside his studio to examine his Monome manipulations and find out exactly how this RBMA 2011 grad crafts his hazily atmospheric music. Tomorrow marks the beginning of May, and will also see the release of Inner Hue (artwork above), the debut Anenon full-length. This may not come as a surprise, but we think it's quite good, so we've twisted the LA artist's arm and convinced him to stream the entire LP here on XLR8R. Give it a listen, after the jump. Read more »
We'd like to introduce you to another new XLR8R feature, called Chatterbox. Seeing as how online communications such as AIM, Skype, and the like are basically commonplace in everyday life, we thought it'd be advantageous to catch up with some of our favorite artists in that setting and share those exchanges. We expect Chatterbox to be a place for somewhat informal discussions, though we fully intend to bring you as many of the juicy details and illuminating facts behind the work of top producers and musicians with each conversation. Read more »
The work of Atlanta producer Drew Briggs (a.k.a. Divine Interface) has cropped up on XLR8R on more than one occasion, as he's been kind enough to share a number of tracks, including last year's "Fool Me." Today, we have an addendum to that particular jam, "Fool Me Pt. 2," which oscillates on a similar wavelength with a repeating R&B chirp, dense clouds of chords, and a crisp, distinct percussion line that allows Briggs' ATL origins to shine through. Whereas the original "Fool Me" sampled more of Southern rap's skittering beats and laid-back flavors, the sequel is a more melancholy exercise in high-tempo juke that sees Divine Interface exploring a brand of dance music similar to that of his fellow Atlantans in the Embassy crew. The effect is one of a lazy Sunday afternoon, albeit one in which the mind fixates on the energy of Saturday nights gone by.
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