1991, whose song "Fabric of Space" we posted last month, has announced a forthcoming 12" called Skogen, Flickan och Flaskan (which apparently translates to "wine, women and woods"). For this new endeavor, the producer has changed his moniker to MCMXCI, as he'll be exploring a sound outside of 1991's more lushly ambient leanings, one which he refers to as "traditionalist, inherently Swedish folk techno." Ahead of the artist's new record dropping early next year via Opal Tapes, we're presented with "Untitled 4," a reportedly single-take techno improvisation recorded onto tape that results in a dark and twisted sonic soundscape reminiscent of Unit Moebius.
In 2010, Caribou released Swim, a dense, deeply infectious album that took Canadian songwriter Dan Snaith's intricate pop sound in a considerably more club-oriented direction. Unbeknownst to many, however, this time marked a schism of sorts in Snaith's music. By the time of Swim's release, he had already quietly begun working under another name: Daphni, an even more expressly dance-oriented permutation of his musical psyche. Since then, he's accumulated a wide-ranging array of tracks under this name, both released and unreleased, several of which have now collected on a full-length album called Jiaolong. Before it dropped this week on the Merge label, Snaith spoke with XLR8R over the phone from his London home, where he was preparing for a series of full-band Caribou live dates opening for Radiohead. Spliced into the schedule are some Daphni DJ sets, allowing his musical guises to exist rather neatly in parallel to each other—his endeavors as, alternately, a meticulous composer and an impulsive DJ/producer are, as Snaith makes clear, by no means dueling interests. Read more »
Daniel Guijarro (a.k.a. Headbirds) released a free EP yesterday, called The Holy Look, which uniquely encompasses tropical bass, UK funky, and hints of dubstep. A powerful and evolving bassline drives the Barcelonian's "Hungry Winds" production with help from the lively beat work, while scattered vocals and wild synth jabs wander through different octaves and filters without losing total control. And if this one does the trick for you, make sure to listen to and download the remainder of Headbirds' three-track EP after the jump. Read more »
Departure? Departure to where? If these questions were ever raised following the release of Rick Bull's (a.k.a. Deepchild) last LP, Departure, they'll certainly be answered by Neukölln Burning, his latest. Separated by a five-year gap, the space between the two albums saw the producer leave his native Australia for the comparatively colder climate of Berlin. Yet beyond just physical relocation, it seems as though a personal journey has been taken as well. Shifting away from the tech-house sonic design of Departure, Bull's latest feels like an attempt to convey a very specific moment in time, along with the feelings, people, and spaces involved. Read more »
The energy of a yellow, low-hanging moon, glittering sparklers, and champagne-drunk friends frockling along the beach are among the vibes eminating from the Santa Cruz electronic scene. Rex Solway (a.k.a. Mist Glider) hails from that coastal region and lives up to those expectations. On "Just Us," a cut from the producer's forthcoming free album, The Pyroclastic Flow, ocean waves roll over a somewhat off-kilter melody, pitch-shifted vocal fragments, and a decidedly laid-back beat. Before the rest of Mist Glider's LP drops on October 25, Solway will also release a compilation called Vicissitunes Volume 1 on October 11 via his new "visual-audio label" Sleepy Beach.
On his latest 12", Benjamin Damage fully lives up to his namesake. Delivering two massive tunes completely stripped of the moody gloss which defined They!Live—his full-length effort with frequent collaborator Doc Daneeka—"Swarm" and "Headache" signal a new twist on the producer's talent, succesfully turning his focus towards more powerful dancefloor workouts. Read more »
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